Major Project: Post Production + Collaboration
In the industry and within any film the director will oversee, create and fine tune his/her vision from early pre-production to the last finishing touches of post-production. It is vital the director oversees all processes to ensure the vision is being followed.
Post-production is where an amateur director may have less involvement, however the fine tuning at this stage can be the things that separate films from good to great.
I made sure that I was present to oversee and collaborate with the editors providing feedback on all areas of the production.
Film Editor Collaboration
Dailies
While I was not present for the construction of dailies, they did involve collaboration. The creation of dailies during the shoot provided me with a detailed indicator on things we may have missed or were yet to get while filming. The production period is a very busy time and it can be easy for a director to forget or miss things on set, having that second line of defense in the form of dailies provided us with a safety net to ensure we shot everything we could and needed to during the production time.
The collaboration during this stage was key and our editor and I collaborated effectively during this period.
First Assembly
During this stage the editor purposefully solely edited the film in a rough first assembly. This is an industry practice in which the fresh perspective the editor has is able to cut the film together to create a basic outline on how the film works within the narrative.
This way it removes the initial bias a director may have when editing work. A practice we looked to avoid by collaborating once this initial cut was finished. It was important that we did this as the fresh perspective I was able to have on the next cut allowed me to understand and clearly see the film for what was needed or what was left out.
Cutting down time/narrative necessity
One of the common issues with directors who edit is that sometimes, out of personal taste, will cut things that work or keep things that do not. An issue minimized by having a separate editor who assists with the cutting of the film.
Once we began our collaboration, the editor and I began cutting the film down to an effective length for the film. We felt that 15 minutes, maximum, was an appropriate length for the film, given the themes explore, the genre and our desires to send the film to festivals.
To do this the editor and I cut scenes that either provided no further information to the narrative or character or scenes that for specific reasons, did not work or took to long explaining things that were not needed.
This is where collaboration was key as before areas were cut we would discuss the reasons for cutting and come to a mutual understanding on whether or not it was needed. If one of us did not agree for something to be cut we would discuss but ultimately nothing would be cut unless we both agreed.
A part of the film-making process that can be difficult for directors, I found this stage positive as we were ultimately cutting the film to its best rather than cutting scenes that I personally 'liked'.
Fine Cut
During the fine cut the editor and I collaborated further by reviewing the film with our producer and executive producer to receive feedback.
Following this we began trimming scenes that and refining cuts and transitions. This fine tuning stage finely alters the timeline to either further reduce time or adjust the fluidity of cuts. At this stage i provided my opinion on shots that could be held, cut earlier or scenes that could still potentially be removed or summed with less shots.
The editor and I further collaborated by discussing potential changes. I made sure that I was present at all times during the edit, providing feedback and alternatives to the fine cut.
Final Tweaks and Film Reviews
After the final visual reviews the editor and I focused our attention on the very fine details of cuts and scenes along with further feedback from our producer and executive producer.
This was the opportunity for final visual changes before picture lock. It allowed us to add or remove frames on or off shots, ensuring visually the cuts together seamlessly and visually there as little issues as possible.
Collaboration at this point was key as at this point it is very important for both the editor and the director to work together to spot any small issues or room for improvement before the picture lock deadline.
Sound Editor & Mixer
Sound Editor
While editing picture during the fine cut the editor and I began tweaking areas of the audio. Unfortunately during the early stages of the shoot, some of our sound equipment was creating a large amount of noise within the microphone, meaning that once we got the audio back to the editor the sound was considerably bad.
We tried to rectify this by delaying the beginning of the shoot to source a new microphone and cable, however even after this we still ran into the same issue. A frustrating situation as during the edit we had visuals that were to a high professional standard but audio of an amateur work.
During the fine edit the editor began syncing the audio during the first assembly, ensuring the audio matched on screen and fit. This was fine tuned throughout the edit when we would cut scenes and alter the timeline.
Unfortunately, given the feedback allocation, we were unable to have a picture lock date until late in the production. This meant we were working on sound at the same time as working on picture. Something that is not done within the industry or a professional project. However, given our student status and the time for production we had, we were able to make it work.
The editor began noise reduction and leveling during the edit also, a difficult task given the state of which some of the tracks were in but was able to significantly improve the audio to a satisfactory standard.
We were aware that some of the audio tracks would not be perfect and we would not be able to completely fix them. For me this was a disappointment due to the high standards of the narrative and visuals. As a lesson for the future, my main note was to always source a professional sound recorder when working on a shoot.
Sound Mixer
We hired a professional sound editor to add the finishing touches to the audio, and also to tune any areas that we missed or could still be further done.
During this period I collaborated with him, providing context, input and feedback on areas he was working on. His main task was to level the film's audio, to reduce any further noise that still could be removed, without further damaging the clip. Also after this he was to mix the film to make sure the volume is consistent.
Working with a hired professional allowed us to not only fine tune the audio further but it provided for an experience of working with an industry professional. This was beneficial as it not only provided us with experience of working with a professional but also contributed to the professional standard of Double Exposure.
I worked with him closely throughout his time working on the project collaborating on areas of audio in detail.
COLOURIST
Supervising Colour Correction
I also collaborated with and supervised the Colourist during colour correction of the film. Together during this period we looked to level the film through its colour, ensuring scenes were correctly balanced and representational of the scene.
Colour during Double Exposure was a key aspect of though during its creation. We wanted to make the colour reflective of the psychological state Emily was in. For this reason, moments in which Emily is in control and comfortable are represented with warm colour tones. This is in contrast to moments where she is not in control and confronted by her guilt, fear and other emotions. During this, the colours reflect a colder more muted tone.
To achieve this the colourist and I collaborated intensely, to ensure moments worked and the colours suited the scenes. All the while trying not to make the colour a distracting element as we agreed it was to be a subtle layer of storytelling.
Our collaboration and discussion during this period made the overall colour and visuals of the film all the more effective. Providing an effective film and an example of visual storytelling.
Post-production is where an amateur director may have less involvement, however the fine tuning at this stage can be the things that separate films from good to great.
I made sure that I was present to oversee and collaborate with the editors providing feedback on all areas of the production.
Film Editor Collaboration
Dailies
While I was not present for the construction of dailies, they did involve collaboration. The creation of dailies during the shoot provided me with a detailed indicator on things we may have missed or were yet to get while filming. The production period is a very busy time and it can be easy for a director to forget or miss things on set, having that second line of defense in the form of dailies provided us with a safety net to ensure we shot everything we could and needed to during the production time.
The collaboration during this stage was key and our editor and I collaborated effectively during this period.
First Assembly
During this stage the editor purposefully solely edited the film in a rough first assembly. This is an industry practice in which the fresh perspective the editor has is able to cut the film together to create a basic outline on how the film works within the narrative.
This way it removes the initial bias a director may have when editing work. A practice we looked to avoid by collaborating once this initial cut was finished. It was important that we did this as the fresh perspective I was able to have on the next cut allowed me to understand and clearly see the film for what was needed or what was left out.
Cutting down time/narrative necessity
One of the common issues with directors who edit is that sometimes, out of personal taste, will cut things that work or keep things that do not. An issue minimized by having a separate editor who assists with the cutting of the film.
Once we began our collaboration, the editor and I began cutting the film down to an effective length for the film. We felt that 15 minutes, maximum, was an appropriate length for the film, given the themes explore, the genre and our desires to send the film to festivals.
To do this the editor and I cut scenes that either provided no further information to the narrative or character or scenes that for specific reasons, did not work or took to long explaining things that were not needed.
This is where collaboration was key as before areas were cut we would discuss the reasons for cutting and come to a mutual understanding on whether or not it was needed. If one of us did not agree for something to be cut we would discuss but ultimately nothing would be cut unless we both agreed.
A part of the film-making process that can be difficult for directors, I found this stage positive as we were ultimately cutting the film to its best rather than cutting scenes that I personally 'liked'.
Editor Collaboration (2017)
Fine Cut
During the fine cut the editor and I collaborated further by reviewing the film with our producer and executive producer to receive feedback.
Following this we began trimming scenes that and refining cuts and transitions. This fine tuning stage finely alters the timeline to either further reduce time or adjust the fluidity of cuts. At this stage i provided my opinion on shots that could be held, cut earlier or scenes that could still potentially be removed or summed with less shots.
The editor and I further collaborated by discussing potential changes. I made sure that I was present at all times during the edit, providing feedback and alternatives to the fine cut.
Final Tweaks and Film Reviews
After the final visual reviews the editor and I focused our attention on the very fine details of cuts and scenes along with further feedback from our producer and executive producer.
This was the opportunity for final visual changes before picture lock. It allowed us to add or remove frames on or off shots, ensuring visually the cuts together seamlessly and visually there as little issues as possible.
Collaboration at this point was key as at this point it is very important for both the editor and the director to work together to spot any small issues or room for improvement before the picture lock deadline.
Sound Editor & Mixer
Sound Editor
While editing picture during the fine cut the editor and I began tweaking areas of the audio. Unfortunately during the early stages of the shoot, some of our sound equipment was creating a large amount of noise within the microphone, meaning that once we got the audio back to the editor the sound was considerably bad.
We tried to rectify this by delaying the beginning of the shoot to source a new microphone and cable, however even after this we still ran into the same issue. A frustrating situation as during the edit we had visuals that were to a high professional standard but audio of an amateur work.
During the fine edit the editor began syncing the audio during the first assembly, ensuring the audio matched on screen and fit. This was fine tuned throughout the edit when we would cut scenes and alter the timeline.
Unfortunately, given the feedback allocation, we were unable to have a picture lock date until late in the production. This meant we were working on sound at the same time as working on picture. Something that is not done within the industry or a professional project. However, given our student status and the time for production we had, we were able to make it work.
The editor began noise reduction and leveling during the edit also, a difficult task given the state of which some of the tracks were in but was able to significantly improve the audio to a satisfactory standard.
We were aware that some of the audio tracks would not be perfect and we would not be able to completely fix them. For me this was a disappointment due to the high standards of the narrative and visuals. As a lesson for the future, my main note was to always source a professional sound recorder when working on a shoot.
Sound Mixer
We hired a professional sound editor to add the finishing touches to the audio, and also to tune any areas that we missed or could still be further done.
During this period I collaborated with him, providing context, input and feedback on areas he was working on. His main task was to level the film's audio, to reduce any further noise that still could be removed, without further damaging the clip. Also after this he was to mix the film to make sure the volume is consistent.
Working with a hired professional allowed us to not only fine tune the audio further but it provided for an experience of working with an industry professional. This was beneficial as it not only provided us with experience of working with a professional but also contributed to the professional standard of Double Exposure.
I worked with him closely throughout his time working on the project collaborating on areas of audio in detail.
COLOURIST
Supervising Colour Correction
I also collaborated with and supervised the Colourist during colour correction of the film. Together during this period we looked to level the film through its colour, ensuring scenes were correctly balanced and representational of the scene.
Colour during Double Exposure was a key aspect of though during its creation. We wanted to make the colour reflective of the psychological state Emily was in. For this reason, moments in which Emily is in control and comfortable are represented with warm colour tones. This is in contrast to moments where she is not in control and confronted by her guilt, fear and other emotions. During this, the colours reflect a colder more muted tone.
To achieve this the colourist and I collaborated intensely, to ensure moments worked and the colours suited the scenes. All the while trying not to make the colour a distracting element as we agreed it was to be a subtle layer of storytelling.
Our collaboration and discussion during this period made the overall colour and visuals of the film all the more effective. Providing an effective film and an example of visual storytelling.
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