The Rough Cut
As the name implies, the rough cut is a preliminary version of the movie. The editor assembles the footage in the most effective way, using a structure that is understandable and dramatic.
The most effective structure might be a narrative treatment that follows a straight-forward timeline.
Or it might be a “problem-solution” structure that presents an issue, outlines various approaches or angles on it, then resolves on some kind of answer.
The structure must complement the content and engage the viewers’ minds and emotions.
The rough cut will also include sound. The sound editor will lay in a soundtrack, with ambient background sound, spot sounds or effects, and synchronized dialogue. The sound mix, like the video, will be rough at this stage. For documentaries, there is generally no narration at this stage, or there is “scratch” narration, often supplied by the editor.
The rough cut is the first test of the movie. It is the first glimpse of the product that a close circle of viewers get to see and evaluate. The director and editor sit with the test audience to watch their reactions and listen to their comments. This is a tense moment for the filmmakers.
- Is the film dramatic? Is there emotional content that could be capitalized on?
- Does it drag in places, and if so, where? (Consider this).
- Is there information missing? Or transitions that left you confused, because of ideas that needed connecting?
- Are there interview questions you with would’ve been asked?
- Are there other people you want to see interviews of, or hear from?
- Does the structure make sense?
- Can the audience follow the storyline?
- Does the film resolve in a satisfying way?
- How could the Title, Log Line, Synopsis be improved?
Try to avoid having a test audience made up only of friends who will tell you that anything you do is great. That might boost your ego, but it won’t help your film. What you’re looking for is an honest assessment of what works and what doesn’t.
The director has to listen to the comments and solicit reaction, then decide how to use the feedback. It can be demoralizing, but the director has to accept that the film must stand on its own merits, not on the “vision” he or she had for it before it was filmed.