From: Laura Bradley
Sent: Friday, April 21, 2006 4:41 PM
Subject: 'Editing Fashion'
Hi Laura, I got everyone together - Ilse Spies, Natasha Ellis and Mada Uys - at lunch time and we have answered your interview questions. We have digitised the material into one of our editing suites, and as time allows, they are working on the project. It is very much a team effort with Ilse playing the leading role.
Can you say something about your background?
We have approached the project as the Egoli editing department and all have different backgrounds and experience. Ilse has been with Egoli for 10 years and prior to that had extensive experience editing drama and doccies for the South African Boadcasting corporation. South Africa was one of the last countries to get television. Television broadcasting only started here in 1976. (By the way, we have one of the earliest film industries in the world. We have films made during the Anglo Boer War in 1900.) Natasha, after leaving film school, joined Egoli and has been with us for 8 years. Magda, after completing her Masters in Development and Management and lecturing Television at Potch University, joined Egoli 3 years ago.
Which field would you say you represent?
How do commissions normally come to you?
This doesn't apply to us.
Would you say you have a standard process for starting an edit?
Our process for starting is relatively standard in that we look at the material, do a first cut and then move quickly on to a fine cut. We edit 25 minutes a day so the pace is steady and relentless. Many of our episodes are shot single camera, film style.
Have you ever had to edit the same footage as someone else?
We have all had different experience, but mostly one doesn't get the chance to edit the same footage as other editors - that is what makes "Editing Fashion" such an interesting exercise.
What kind of issues does the concept of 'Editing Fashion', where a range of people tackle the same material throw up?
Because we are approaching it from a soap opera point of view, we are not necessarily using the most visual material, because we have decided to limit ourselves to telling a story and using the dialogue sequences.
How will you begin viewing the rushes? Do you start recording time codes straight off or do you watch and then start editing?
Because our time is very limited, we have selected the material that appeals to us as we view and then started editing immediately.
Do you use a storyboard?
What software do you work on?
Have you had any initial thoughts on the Galliano footage so far?
The footage is visually exciting and very different from the material we are used to.
Do you find yourself working differently when working with fashion material?
Yes. We are used to telling stories with dialogue and picture. This material is totally visual.
To what extent do you find yourself employing a 'soap opera' approach?
The 'soap opera' approach probably comes out in the material we select and the story we tell.