The film was made with an organization called the Sea Change Project. It was a stressful week, but amazing what you can do when you combine the right human skills with good creative tools. It very quickly became clear that that wasn’t going to work.Īt that point we were rescued by a machine of an online editor called Dani Nel, and exported to Baselight. At first we went straight to Baselight and the colourist Kyle Stroebel and I had a couple of very intense and scary days trying to relink things and get timings right. Also, because of the volume of footage we had to contend with, we were operating across 4 or 5 hard drives. We were warned by online editors that post and QC were going to be a nightmare and that it was going to take weeks to get right and cost a fortune. For a start, we were working with a host of different camera formats, frame rates and resolution sizes. Post-production was a huge challenge generally. What were some specific post-production challenges you faced that were unique to your project? How did you go about solving them? Something about this part of the story (perhaps it’s obvious because the themes are so powerful and universal) just worked, and we actually used it as a kind of bench-mark when assessing the tone and feeling of other sequences that we had cut. This is followed by the heartwarming and heartbreaking story of how she completes her mission to reproduce, but gives up her life in the process. There is something so poignant about the bitter-sweet moment when Craig observes the octopus playing with the fish and then she climbs on top of him for the last time. We were always aiming to cut 3 minutes per day, but this scene was so powerful I think I charged through about 10 minutes in an afternoon, and when I showed it to Craig and his wife Swati, they were both brought to tears. If I go back to the edit though, I have to say that the scene that really stood out while I was cutting it was the sequence that covers the final phases of The Octopus Teacher’s life. This is the part of the story where Craig is getting his purpose back and really starting to discover the sea forest again - a feeling he had felt cut off from since childhood. In the early part of the film I love the sequence that James Reed (my co-director) refers to as the “ Avatar scene”. In my edit suite at home, I try to have almost nothing on my desk, because it gets distracting, but I do rely on post-its a lot! Tell us about a favorite scene or moment from this project and why it stands out to you. Most of the edit happened from Craig’s attic, so we didn’t have a lot of room to work with. On this project, we had a lot of hard drives to juggle which got frustrating and so at a certain point we had to package the project and relink files later. I have been using Premiere Pro for so long that I generally just stick to the standard editing workspace set up and make sure that the Program monitor is full screen. How do you begin a project/set up your workspace?
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