EDIT PROCESS

Compiling and editing for the final film Radiant Baby Manifest is underway as choices are being made into the overall aesthetics of the film.
The entire footage to be used has been shot using a Nikon D7000 DSLR, in High Definition (1920x1080, 24fps) in full colour and edited using Adobe Premier Pro CS5.
Sections of the choreography are currently being edited separately; this allows concentration on smaller sections of the film to be applied giving opportunity for fine detailed edits to be applied with ease. Similar filming and editing style is apparent throughout the various sections of choreography creating a cohesive stylised result within the overall viewing of the film.

Throughout a number of the sections of the choreography (six in total) each of the dancers were filmed performing the choreography separately within the space, it is now through the use of the edit they may form together by inter-performer edits where upon each of the editing choices are formed not only by variety in multiple camera angles and set alterations (by adjustment of corner angles), but also of constant variety between each of the three dancers.
This element allows further abstractedness in the film and alludes to the possibility of unity and oneness of the three dancers.

Each clip used within the edit has been altered as so it creates a high contrast black and white image (similar to that seen within Michael Downing's Cornered) which also enables the notion of the dancers becoming an element of the designed space aided by the costume and set design. This enables a clear visual link between the film and the Leibovitz portrait in which the visual inspiration to the film was initiated.

As edit choices are made to sections of the choreography, montages of still images (dancers filmed in a still position as opposed to photographic images) are also being compiled as means for an introduction into the film itself. As these edit choices into the visual element of the film are under-way the audio accompaniment to the video is being edited coincidentally as so the music fits exactly with the edit and pace of the introduction. This is in contrast to the rest of the film in which the video footage is edited in conjunction with the musical accompaniment in the form of Yelle's Safari Disco Club in order to cohesively flow with the music allowing the overall high-energy music and film to make a high impact on the viewer.


Author's Note
Editing and compiling of the film is well under-way, and although this may be a long process it is certainly interesting to see what the tools of post-production has upon viewing the same original footage.