I understand what you are implying but it's much more complicated than that. I was there for the edit and can assure you that in every scene (including dialog close ups that go back and forth) there were up to 20+ takes for every shot. That's 400 minimum permutations for editor Kirk Baxter to consider on every single edit. Every shot by definition is an "individual shot". Every shot is numbered and passed down the pipeline to color and sound. If you want to count only different shot sizes used in the film as "individual shots", that's completely fine but a professional post production workflow cannot function without individual shots being itemized and cataloged. With over 500+ hours of footage shot for GONE GIRL...so many options exist for every shot used and every shot is an integral component to create the final film.
It can be either. But the number would be different. There are 2964 individual shots but only 2963 cuts. To further complicate it, a cut can be an edit between 2 shots or an entire version of the film...The director's cut, producer's cut etc.
Hi John! ASL is one metric that I was absolutely analyzing. Speaking only for myself, I find great value in the thumbnails. As a feature film editor, I always focus on the macro and the micro at the same time. Every edit will influence every decision before and after but also impact the scene / sequence / act / whole film. I created the thumbnails for my interest in spotting patterns (if any are there) and to study (as Liz mentioned at the end of the article) color, pacing and shot size. I love a graphical representation that I can open and investigate anytime instead of re-watching a film linearly. I like to 'look under the hood'. When I'm smitten with a film, I will often use this thumbnail technique to get really granular and try to reverse engineer certain elements of a film. Last example...It's really effective when you analyze parallel narratives and see how they intertwine and how they affect rhythm and pacing. Now I'm rambling! I'll stop now. But bottom line, I find the thumbnail view of all the shots in a film very inspirational and eye-opening.
My fellow countryman Miroslav Tichy (1926-2011) photographing from the late 1950's with a homemade "garbage" camera made of cardboard, plastic and found parts. Worth a peek:https://fstoppers.com/natural-light/photographer-snaps-nearly-hundred-ph...
Thank you Joe for sharing some great info on one of my favorite filmmakers and DPs. Everyone can learn something from Douglas Slocombe and that includes me. I posted the first video with the longest take with Indy and Belloq in the bar and then realized the Indy preparing to leave on his trip was actually longer! Then I realized that the wharf scene next to the Bantu Wind was ACTUALLY a longer single shot than both the others. I think that speaks to the fact that I was so immersed in all three scenes to never realize there were no cuts and they flowed by so seamlessly. The camera work and compelling storytelling are a tribute to Slocombe and his gift to all filmmakers and movie fans. BTW...he didn't use a light meter. He judged the light by eye and used his decades of experience to properly expose the film. Damn. That's supreme confidence. He will be missed...
Why go proxy when it takes so much time to transcode and the additional need for storage which is $$$? I cut the PENTATONIX music video I mentioned above in RED EPIC 5K natively at 1/2 resolution with a 6-year old "shitty" Mac Pro Tower. No problem. Edited, color graded and delivered in 2 days.