I was in the edit room... I was cutting a scene with a day player with the star. THe take I wanted of the medium close up didn't match with the previous two shot-- the day player had his left arm up and he was looking to his right, so that when I cut, it didn't match. I ended up staying on the star and the day player lost some screen time.
A knowledge of how the edit room flows can be extremely valuable to the actor. Consistency in performance is dramatically illustrated as the editor tries to tie the pieces together to tell a coherent story that doesn't have distracting elements.
Another one is an actor making noise over his own line. I'm getting some footage ready for the editing seminar Thursday, and I'm watching some raw footage of Lou Diamond Phillips. He's holding an AK47, prepping it for action, while talking to his buddies. Lou grabs a mag and slaps it against his thigh to line up the rounds inside it. On every take, he does it right between two lines so that he doesn't make a thwap over a line. He knows that in the edit room, sound effects like loud footsteps, doors slamming, magazines thwapping, have to be totally separated from dialogue.
This kind of knowledge can help on the set and in the edit room. I don't have to do another take because of the sound over a line... or if I missed it on the set, costly ADR, or even just cutting it.
This kind of knowledge can help the subtleties of the actor's performance, pushing it up a level. Especially for the local actors landing those day player roles.
These tricks and more discussed Thursday Night. www.s-films.com/pov to register. A few seats left.
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