Thanks to all the musicians sending us tracks for potential inclusion in the soundtrack.
I haven’t had time to reply to everyone but will get there eventually!
Here’s an update on where we’re at and how we got here…
Fish 1: “Ça va ?”, Fish 2: “Oui”.
Data management is the most boring and important part of post production, but it’s kind of fun if you tie it in with dailies (watching the footage you shot that day). So every day after filming, I logged clips into scene folders, which gave us a bit of a head start on post (Our footage folder has 7551 items so it’s a big job).
Penny Black Cast/Crew Watching Rushes in Taupo. Looks like a pretty funny movie.
We didn’t waste time with action continuity during the shoot, which meant actors could change things up and go in different directions every take which is great cos’ it doesn’t lock you into blocking from a master wide and the scene can improve while you’re filming.
Martin Scorcese agrees: “Continuity is for pussies”
We didn’t use a camera slate for principle photography, so when the audio was recorded externally, I had to sync it visually (which takes a while but we couldn’t afford to take another crew member on the road). It helps when actors clap on “camera rolling”.
Anton squashes Toni’s beak with a camera slate during pickups in Pukekohe. We used take shapes instead of take numbers.
Although every scene in a script has a specific role to play in the story, I knew from the start we’d be doing a lot of improvisation to interact with things we found on the road, which is why we didn’t give actors scripts before auditions. Astra McLaren and Anton Tennet were quite exceptional with improv so I’m pretty grateful we found them. I also think most of Cameron Rhodes ranting dialogue was improvised around a few key lines we gave him.
It’s interesting to see these famous film improvisations:
Our editor (my long time friend and collaborator) Brad Davison came on board without any editing notes (just a few reference movies), and went with a “last take is probably the best” approach (which is usually always right).
Since the first assemble edit I’ve been slowly changing performance takes and working through it with him and I’m pretty excited about what we have. It’s been quite fun looking back to see what was left out of the edit like obscure movie references. Some people think it’s clever to reference a lot of movies, but really it just means you’re too lazy to be original (unless you’re putting a new spin on the content).
I like Alfred Hitchcock’s idea that “The length of a film should be directly related to the endurance of the human bladder” so we’re aiming for 95 minutes duration – although Peter Jackson would disagree with this. Our first “assemble edit” was 126 minutes. Our “rough cut” is now under 110 mins, but we still have a few months ahead of us!
We are currently looking for:
- Graphic Designers (for VFX advertising in the film and promotional posters)
- A Web designer (we can do better than this and have more features to add)
- Web Hosting
- Foley Artist
- VFX Artists (for one or two shots)
Please get in touch if you are keen to help. 🙂
TECHNICAL (FOR NERDS)
- We’re editing on a year-old bottom-of-the-range iMac computer (2.5Ghz, 4Gb Ram). I figure if Rian Johnson could get away with using a shitty iMac to edit Brick, so can we. (We’ll use a better computer for the online edit)
- We’re editing in Final Cut Pro with 720P Prores Quicktimes from Red Cine-X (Brad wanted Avid but I set it up in FCP before Brad got to it)
- Files are stored on 6Tb Lacie Thunderbolt hard drive and backed up on USB drives (yes, this was a significant part of our budget)
- We’ve done colour grade tests with DaVinci Resolve software which are looking good.
- Visual Effects Pre-Vis is being done in After Effects but VFX software is TBC, depending on who we get to do the online edit.
- Final Output could still be in 4K, but most likely 2K or HD.