Adventure Costa Rica. Whitewater rapids. { EDITORIAL | COMPOSER | PERFORMER }

Some sequences are mixed blessings.
What else do you call an amazing opportunity to cut a wild river rapids adventure featuring footage from an HDcam, three HDV cameras, and three GoPros?
That’s HOURS of footage, my friends, for roughly two minutes of screen time.
Because we had a longer deadline for this show, and because I was paranoid about missing out on any sound or visual element that would amaze… I watched everything.
Seriously. Everything.
This was one of the few times I tagged and sorted all the footage of a sequence before cutting one frame. Which helped me identify all the pieces I needed to create epic wipe-outs… and provided a rough idea on how to structure the sequence.
At the same time I was sifting through the footage, I was also thinking through what role music would play.
I always knew, for example, that music should mimic the adventure itself: preparation, setting off, rapids, and quiet resolution.
In viewing the footage, I spotted what I needed to transition from one part of the adventure to the next; the guide yelling out in the open being the pivot from setting off to rapids, for example.
Of course all this meant that I indulged… a LOT. And the editor’s cut of this sequence went roughly 45 to a minute longer than what aired.
No worries, though. That longer cut lives on in DVD extras.


Adventure Assam, India. { Editorial }

One of the best things is when you look at the footage… and everything’s there.
Everything you need…
Is there.
Don’t need graphics.
Don’t need music.
Don’t need to make stuff up.
Oh sure, there’s VO you’ve gotta cover. But the footage shot, and everything that’s going on in those shots, goes well beyond the written word.
And you get to play a little.
Of course, you don’t want to overstay your welcome, but you do want to create an immersive experience; one made possible not only by the visuals… but by the sound of actually being there.
In this case, there was dance, there were musicians, and there was a race.
Each of those elements had plenty of coverage, plenty of sound. And it was fun to play with the pieces, figuring out what was enough to give that sense of immediacy; of feeling just what it was like to be right there on the banks of the river.
Or in the boat.
Or dancing in the crowd.
Special thanks to Eric Jensen for spectacular coverage of this village race in Assam, India.