Coping with the reaction to your film

Quite commonly during the edit when your program is evolving there is a big difference between what you intend to achieve with a particular scene, sequence or order of these and what a person watching this material for the first time will understand from it. If you keep your production totally to yourself during the whole edit ¨C holding off showing it to any third party until its all ¡°nice and polished¡± – the chances are you might build lots of confusing elements into you program. You will get very upset when they point out that it just does not work or that they didn¡¯t understand what you thought you were conveying. Your ego is all locked up in this particular edit or even finished program and they say you are wrong or confusing them. With this secretive approach you may well have used up most of your edit schedule and budget before you discover the film is not doing what you think it is.
It is well worth while to constantly trying out your evolving edits on respected colleagues or even family [as well of course of actually hearing the feedback of the commissioning editor who has the power to insist] .
You know everything about the subject. Your ultimate audience might know nothing about it and will see it only once at 25 frame per second. You need to constantly test whether your intentions are being achieved as you form the structure and refine the program¡¯s ¡®story¡¯. The key to successfully using this process is to quiz your test audience/s on what they are comprehending and when or if confused at any point ¨C NOT how they would cut it. You are not editing by committee, just seeking reliable feedback as to whether your intentions are working. If you do this throughout the edit and address any concerns and confusions raised in these sessions, by the time your program is complete you are confident that the film is achieving what you want it to with an audience. You can be more relaxed about any criticism f

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