How can you choose the best takes during the editing process?

The best take depends on how well the actor follows the director's vision. It's mostly about how the actor plays the character and shows emotions. But, choosing the right take also involves looking at how the shot looks creatively and technically. This includes how it fits into the overall editing, and how things like lighting and camera movement make the scene better. Other things like saying the lines correctly, background actions, the way the actor moves and acts as the character, all play a big role in deciding the best take.

Watching rushes is objectively one of the most boring activities known to humankind. If something grabs your attention, well that probably means it deserves a second look, and may well work in your final cut.

As an Editor, and a Cinematographer, I think it is really important to get a lock on a 'take' on the shoot location itself. Yes, there are times when a 'safety take' is captured even after a good one is already agreed upon by the Director & the DoP. On the Edit table, things can change, and so can the structure of your film too. I'm writing this purely with reference to documentary & non-fiction genres, but it can apply to the storyboarded/scripted fiction genre as well. Best takes simply means those set of visuals which 'work' for your storyline and/or what you've envisioned.

1- Eliminer ce qui est médiocre 2- Garder ce qui est excellent (plusieurs critères donnent chair à ce terme) pour l'image, le son l'interprétation, un par un deux par deux ou les trois 3- Jeter des passerelles de cohérence entre les fragments retenus 4 - Une fois une ou plusieurs séquences assemblées , avoir un accès permanent et renouvelé jusqu'au montage déclaré final, à l'intégralité du matériel de tournage, pour redécouvrir des particularités enrichissantes non décelées lors du premier choix de montage, les critères de sélection ayant évolué

In my experience, the script is the beautiful skeleton written to build an artistic ‘body’ around it (which in this case is the film), and the script supervisor is there to make sure that, that which is written is what is seen on the screens (to the best of their ability). This at times carries on through till, at least, the first edit. I believe that the script guides the story, the actor’s performance, the director’s vision, and then the edit. Yes, I agree that other factors come into play during the creative process of making visual arts, but it usually starts with a script, drafted specifically for a story. Scripts are a way in which stories can be told :)

One thing I've found very helpful is going through all the footage for the project at hand. There's always something interesting/exciting that you'll find and it'll add taste to the your cut. The most I've had to go through is 12days of footage, 8 Cameras, three drones and multiple Go Pros. Really tiresome but you come across amazing gems.

It's not just about picking the 'best' take in isolation, but also how each take fits into the film's overall narrative and flow. Sometimes, a technically imperfect take may deliver the most authentic performance or emotional resonance. Consideration of the director's vision and the scene's intended tone is crucial. A dramatic take might be apt for a tense, emotional scene, while a subtle take may be better for a quiet, introspective moment. Lastly, trust your instincts. As a seasoned professional, you've developed a discerning eye for what works and what doesn't. Sometimes, the 'best' take is simply the one that feels right.

Absolutely watching all of the takes. I know there are a lot of tools to help narrow down the best possible takes without having to watch every single one, and perhaps on a very large production that would be handy, but I really like going through every take and marking moments that spark a reaction out of me. It's not that I don't trust automation to find good takes or moments, it's that I 100% trust it will miss some.

If you’re the director, you likely have a preferred take from the production. But as an editor, watching the whole takes will help to ensure that you use the best versions. You might even be able to combine parts of two takes.

As a Director of photography and feature film editor, I once had a Director, tell me to not be as concerned about continuity as performance. A good performance will capture the audiences attention and any small continuity errors won’t mean a thing.

This is the most important part. Always 100% no question. Debate me on it any time. It's always about the performance/communicated information.

In film editing, a perfectly delivered actor's dialogue is pivotal. Studying directing in Cuba taught me the art of listening, as visuals can overshadow the importance of sound. My editing process involves first listening to a scene, allowing authentic dialogue to become the core of the visual narrative. Recognizing that an actor's performance extends beyond words to include silences and nuances is crucial in crafting a compelling cinematic story. Directors like Scorsese, Fincher, and Nolan emphasize the profound impact of sound in filmmaking, enriching visual quality and immersing the audience in the narrative.

I'm keen to play around with AI in this. In that you can blend certain elements from different performances to get what is needed.

An editor I deeply respect once said, "It's called Drama for a reason and drama starts with us" As someone working in VFX, you can get carried away with some cool CG beat. A monster smashing through a wall, A space ship coming into land in a battle alien field. But you must always but from that to someone reacting to it, human emotions. Or it's not drama it's just a thing doing a thing. So yes, the edit follows feelings, Feelings are timeless, CG is not.

In my meticulous approach to take selection, I underscore the significance of considering technical aspects. Optimal takes should exhibit superior quality and consistency in lighting, focus, framing, and sound, aligning seamlessly with the overall film aesthetic. A judicious use of tools like scopes, waveforms, and histograms is crucial for assessing and refining technical elements, ensuring a polished and error-free final product. Vigilance against visible flaws such as boom mics, reflections, or unwanted noises is imperative, and leveraging advanced editing software functionalities enhances the precision of addressing these technical intricacies for a visually and sonically cohesive film.

Absolutely. However you may be able to fix technical issues such as sound and lighting in post. It’s hard to fix a performance. So performance always win imo.

in my experience if the performance is better than the technical aspect i will choose the performance over the technical stuff. Prioritising performance over technical aspects can often result in a more engaging and authentic final product.

Nachdem ein Drehbuch und eine Shotliste erstellt wurde, ist es entscheidend, dass jede aufgenommene Szene technisch einwandfrei ist. Kleinere Fehler k?nnen zwar in der Postproduktion behoben werden, sollten jedoch im Idealfall von vornherein vermieden werden, um das beste Ergebnis zu garantieren.

Evaluate the technical quality of each take. Look for factors such as focus, exposure, composition, and sound quality. Ensure that the selected takes meet the technical standards required for the final product.

In my role as an editor, aligning with the director's vision is paramount. Optimal take selection involves not only technical prowess but a keen understanding of the director's desired style, tone, and message. I prioritize takes that resonate with the director's preferences, ensuring a cohesive narrative that embodies their artistic vision. Straying from this vision is approached with caution, requiring a compelling reason and explicit permission. Utilizing reference monitors and color charts becomes instrumental in maintaining color consistency and accuracy, further solidifying the collaborative process and achieving a film that authentically reflects the director's creative intent.

While understanding there is often a push/pull between directors and producers/executives, the single most important job of an editor is to be faithful to the foundational truth and vision the director communicates. An effective editor will give the film a strong, resonant voice in the marketplace. An ineffective editor muffles a film's voice, robbing it of its impact in the marketplace. However, that voice begins with the foundational truth and vision from the director. It's why they've been hired in the first place.

Nuestro objetivo es llevar la visión del director al producto final. Sin embargo, en más de una ocasión, podremos sentir la tentación de imponer nuestra visión como profesionales. En este caso, debes recordar que tu trabajo es asesorar, no sentenciar. Debemos facilitarle el entendimiento de nuestro punto de vista como profesionales pero no podemos obsesionarnos con tener razón. Si creemos que el director está cometiendo un grave error, nuestro trabajo ha de ser dejar claro lo que estamos haciendo mal, pero no detener nunca la producción.

I’d agree with this - you are cutting the director’s film, not yours. Communication is essential and if you do have a great idea it’s always best to run it by the director or, better still, show them what you mean in a particular sequence.

Director's notes are key but it really depends on how thorough those notes are. The broader the experience of the director, the more fulfilling the notes will become. Colour chart and reference monitoring (LUT) is an element which requires the DP as well. Most directors having little to no knowledge of this technical process so involving the DP in such aspects will provide much deeper and more meaningful results.

The definition of "best take" is subjective, you need to find out what works for the narrative instead of fixing on a take. The best way to do that is: 1. Read the Script & look at the log sheet (to get away with NG shots) 2. Watch all the takes you have, never pick one until you've seen all of them.. (this is very crucial) 3. Listen to the Director/Producer or whoever's vision it is that you're executing.. 4. If you have doubts, put together a cut and show it to the Director/Producer while also mentioning the alternative take options and narrow it down.. 5. Put it all together. Repeat the process if you still have doubts. Hope this helps!

Always remember you will be the judge and also the advocate for your video, for this reason dont just follow the script blindly even if its not looking good as per you, raise the red flag in early stage to avoid hassle of multiple changes later on. Remember your silence while editing blindly will backfire. Be supportive and open in your ideation too, ask for creative input if stuck and always do what you think is correct. You are the editor and you will be responsible for bad edit.

Deep down you know the answer you’re searching for already. When you are true to self and create your art, you’ll make the best work and best decisions. This will be the best take.

often what I choose to use in edit, is something that makes me feel a certain way. Whether that’s the feelings of awe, happiness or sadness, or anything that makes me think and makes me feel is something I know will resonate with others and be crucial to the story I’m telling in edit.

Ultimately, selecting the best takes is a blend of intuition and taste. Opt for the takes that evoke a genuine emotional response, capturing attention and resonating personally. Conversely, avoid those that elicit boredom, confusion, or annoyance. Trusting one's instincts, honed through experience, forms the core of this decision-making process. Seeking a second opinion or testing choices with a small audience can provide valuable external perspectives, ensuring the resonance of the selected takes extends beyond personal intuition and aligns with broader audience reception.

After you’ve read the script, watched the takes and organized the project files—if there was a script supervisor on set you’ll usually start an assembly edit with ‘circle takes,’ which are the takes on set that the director was happy with. Lacking this, or working on an indie production where it’s a little less organized, a little more chaotic it’s often safe to start the assembly edit using the last takes of each set up. Usually the last take is either for safety or it’s the one where the director felt they nailed it. Once you have the assembly with the circle takes or the last takes you can sit with the director and decide if those takes work or if the director would like to swap them out before moving onto your first cut.

Fantastic question! I strongly recommend checking out "This Guy Edits" on YouTube. Editing is both an art and a craft; what works can vary. I find inspiration from his approach because he has been doing this for decades and for Hollywood.

I agree with Joonas Nieminen. Usually, I also put all the clips on a separate timeline (like in Adobe Premiere) and go through the material. I color code the clips and make cuts to selected clips on this timeline, then raise the cut clips up one (video) track. This way, I can very easily copy the chosen moments from the upper track when I need them. I can copy these moments to different scenes/timelines, for instance.

The best takes are found with a combination of all the tips already listed. I prefer to watch every take any time I'm editing. You never know when a take that's buried in the pile has the best reaction shot or something you can use to splice together the right overall feel. The best shots are also a combination of framing, lighting and sound, interesting motion, and (most importantly) emotion.

These are all valid steps. I am often my own director, producer, actor, writer and editor. I have more control of how I want the finished product to look. This includes color grading and special effects. (if effects are needed) I like ALL of my films (I do call them films though they are shot on video) to LOOK like films. As to what "takes" I choose, it depends on the scene. If we are aiming for comedy, we want to choose the takes that have the best "timing". If we are aiming for drama, we want to choose the takes that have the most genuine power, etc...etc... If I am working for a client, in some documentary or music video. I also want to choose takes that honor the client's vision.