The post-production team is smaller than the production team and
has fewer obstacles keeping it from low-impacting. Everyone should
have a mug for coffee. Your use of supplies and energy, your recycling
efforts and so on, will be centralized and manageable. Set up recycling
bins and establish policies in the post-production
office right away. *
Get the director's cut first, and as fast as possible. Most directors
want to see a version of the film as they shot and envisioned it.
The editor and producers will save time if they work quickly to
supply the director's version of the film, rather than discuss changes
from the outset. The cut will speak 'for itself; there will be changes,
but this way there will be no discussion later as to what the film
might have been if it had stayed true to the director's version.
After that, everyone must agree to work with the material that exists,
not material they wish existed.
TALK TO YOUR NEGATIVE CUTTER AND YOUR LAB You will
save yourself from mistakes stemming from technical problems that
will cost time and resources.
The sound editing team can save much time and resources by assuring
that the mix runs smoothly.
BACKGROUND TRACKS: Be careful to have background
tracks for all scenes. Even when the background is constant in the
production sound (e.g. a car interior where the engine sound is
constant), you will want a track without dialogue available for
M & E tracks, (music and effects tracks, used for foreign versions)
Do this work now, while the film is familiar to everyone:
• Double production effects like door slams and glasses clinking
so that there is a complete effects track for dubbing later on.
MATERIAL: Unused sound fill, mag stock, sound effects
cores, tapes and white gloves can be sold or donated
to other films.*
Screen your film before you lock picture, for people you trust will
tell the truth. At this stage, praise will not help you make the
critical choices that will determine whether you are ready to lock
picture. Repeat this test with new people after the sound and music
are finished. Re-editing and remixing later is expensive and resource-consuming.
ELECTRONIC (COMPUTER) EDITING
Many feel that the future of editing lies with the computer, and
there, are currently several systems available. While notable major
features like Full Metal Jacket, Godfather III, Patriot Games and
Bram Stoker's Dracula have used the technologies, these new systems
are specifically being embraced by low budget and independent producers
who are finding that these systems offer more creative freedom within
THE ADVANTAGE of these systems is that they allow
you to experiment more freely with editing choices in the; same
way that a word processor allows you to cut and paste more freely
with the written word than a typewriter does. Electronic editing
allows more than one version to exist at a time—basically
unheard of in flatbed editing. And it allows you to work with dissolves,
fades and superimpositions in the editing stage, avoiding the delays
and expenses of test opticals. Some systems allow for as many as
24 digital audio tracks to be programmed, preparing you in advance
for your mix.
LINEAR VS. NONLINEAR SYSTEMS: There are two major
types of electronic editing systems currently available. The linear
systems employ a number of video decks, and assemble the cut onto
a master tape as you make your choices. The nonlinear systems store
edits in the computer memory and allow unlimited variation in the
creative work, as no real edits are performed, only stored. The
computer will transfer from digital back to video for a hard copy.
These systems are rapidly improving their memory
capacity, image quality, and affordability, and they promise to
lure independent filmmakers seeking, autonomy from labs and studios,
especially the generation which grew up with computers. How this
will affect the workplace--arid the work--remains to be seen.