-
How much gear do you need to edit a movie in real time?
-
What is lost in this conversation is that on-set/near-set editing is entirely budget-dependent. It generally takes 10-weeks minimum to cut most films AFTER the shoot is complete. 10-weeks is a DGA mandate and most studio films get a lot more in post. So if you have an indie film that’s budgeted an editor and room/rig for 10 weeks, then they aren’t very likely to want to tack on another 3-4 weeks for the editor during the shoot.
Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
I think what’s also getting lost is that this is maybe the most editing-intensive movie you’ve ever seen. Every single thing that happens in every frame is to a beat. It’s a tour de force.
It’s also fun, which counts even more….but THAT’s the story here to me. Not that it’s done on a laptop, not that it’s being done during the shoot, but that the writer-director’s vision was so fleshed out in pre-production that every set-up called for a go-no go. Nothing was going to get fixed in post. Re-shoots are out of the question. You HAVE TO HAVE IT before you leave the set.
And not just the shots. The BEATS. ALL of it.
It’s a story about creativity, vision, preparation, and execution.
WE’RE the mullets who try to use these stories to make rhetorical last stands when there’s nothing at all to fight about.
From a strictly tools and tech standpoint, t’d be nice if the first reaction isn’t to find familiar elements in stories like these and shoot them down — “I’ve been doing that for 20 years”, “Mine can do that”, etc — but rather look for the unfamiliar. “I never thought of Media Composer as especially nimble,” “wow, AMA has come a long way,” “so that’s what they think the advantages of working non-native are”, whatever.
But more than that, my god, I wish every one of you gets to see this on a giant fgking screen with the best sound in your town. Being totally honest, I can’t entirely get over the Ansel Elgort-ness of the whole thing, but movies like this make me fall in love with movies all over again. The giant brains and hearts applied to craft at this level — you might get a couple of these a year if you’re lucky. This is a real gift, the balm for all the half-assed tripe (or ass-and-a-half of bloated tropes) we sit through the rest of the time.
If anybody else has any more stories to share about it, I’d love to hear ’em. I don’t care what you used to do it. I’m just glad you did.
-
I thought it was a fun movie and I did see it in a great theater with great sound and projection. This stuff is so far above the average production, be it Youtube, TV etc. Although as I remember, the credits didn’t need to roll into the thousands of names typical of today’s blockbusters.
-
[Tim Wilson] “And not just the shots. The BEATS. ALL of it.”
The same could be said for Mad Max Fury Road. It too features framing, editing and practical effects that require a huge amount of pre planning and exquisite choreography. In the case of that film though the post shoot edit was massive but on set there was a constant assemble edit & check process with director George Miller in a vehicle with multiple screens – splits from the many cameras and often 2nd unit when they were within links range. Often the vehicles were moving. Tough place to be capturing camera feeds and cutting go takes to check framing and continuity.
I’ll watch Baby Driver when it comes to a screen near me although I usually find guns and car chase films predictable and tired tropes. I’ll trust Tim’s take that this is well above that.
Reply to this Discussion! Login or Sign Up