The editing process for Juliet was very much a combination of the two processes of editing I had used previously in both Little Rag Doll and Rat Bastard. For the small narrative sections that open and close the video, I created an assembly cut in order to visualise and play around with the order of shots as well as get a sense of where I needed the narrative to end and the band section to begin. The entire process of editing was very different to my other two videos as well. Whereas I had a lot of time to edit the previous two, as I had to delay the shoot for Juliet due to kit being fully booked, it was already pushing my video very close to deadline for submission.
The video took me two days to completely finish editing in order to send it to Borderline for feedback. When I had the assembly cuts for each end of the narrative in place and I had trimmed them to the correct timings, I began prepping the rest of the video. In order to finish this video faster, I synced every single clip I had filmed in time with the song and stacked them each on top of each other on the timeline. From here, it was just a case of deciding which band member I wanted to focus on and for how long and applying cuts to each layer of the timeline.
In hindsight, this process worked incredibly well although there was still an extensive period of fine-tuning particular clips if I wasn’t happy with how they turned out or if I had t0 search through my collection of clips to find another shot to substitute for another. This is also a process of editing that I had tried with the previous videos but one that proved too troublesome to work with due to the band not performing the song to the MP3 version of the song, and as such, deviating from the timing of the mastered track in each of their takes. I made it a point that Borderline played along to the MP3 of their track so that time was kept throughout all of the takes, which made the editing a whole lot easier which allowed me a two-day turnaround. After I had finished the video, I immediately sent it to the band and they were all incredibly happy with it and excited due to having their first music video ever released on their Facebook page.
Upon reflection of my finished music video, I believe it was very much a successful considering what it set out to be and all of the problems I went through during the lead up to the shoot. I believe that the look of this particular video (maybe with exception to the narrative section of the video) is probably the most visually professional due to the added boost in equipment on stage with the smoke machine and lights, which gives it a very contemporary feel. The song itself also seems to be a lot superior in audio quality which further adds to the professional look and feel of the video as a whole. I am however not entirely happy with how some of the shots during the narrative have turned out and feel very amateur, but on the other hand, I feel they are needed to break the video up and not to be entirely derivative of my previous music video. The shoot and editing process for Borderline by far was the most stress-free and I was able to group all of the skills and development I had acquired since beginning in January. I believe this marked the point where I felt like a true media producer and editor; filming and finalising physical projects I could then present to clients for their own distribution on social media networks and gain a following.