On Wednesday, we sat down together with editor’s assistant and finished the latest cut of the movie, and then went out to screen our film with Max.
There are five stages of screening a work print that I’ve observed through all the films I’ve worked on:
- Assembly cut: The first screening. Usually, the film is too long, gets jarring and boring and is full of mistakes, plus all the VFX is missing so it’s also very confusing – but you get a great feeling of the characters and the story, if they work overall, or not.
- Director’s cut: Now, you’ve had a chance to work on the film with an editor, and this version is something you are happy with – given the early stage VFX and sounds you have at use. Usually, this film will work for you the director very well, since you reference it to the assembly cut, but the producers are usually a bit more suspicious at that stage. A good producer can smell at this point whether or not the director has lost his or her’s mind, and either allow him/her to proceed – or find another editor to help.
- The Uncanny cut: This is the cut which you’ve worked hard with every department. You have 70% finished VFX, preliminary sound work, early stage music and more advanced edit. Now this here is the hardest cut to watch, since usually for an outsider, it looks just terrible cheap TV. The reason is because, well, nothing is ready, but they appear to an unexperienced eye like they could almost be finished, but just don’t do anything to you emotionally. Also, during this time you also realize that you indeed need one more round of heavy editing. The film is 70% done, but the last 30% is what really counts!
- The Locked cut: At one point, you will have to lock the cut and then nothing can be done to it anymore. After that, you just have to wish you’ll be able to guide the film towards a favorable outcome, but it’s tricky, since what you see as the locked cut will probably be still very heavily in the uncanny valley, and getting it right might feel like an almost impossible task. But as things progress – you get the dialogue premix, you get more advanced VFX, the actual music starts to find its’ tone and place – the film just turns better and better.
- Final film: At this point, you have no more any idea whether or not your film is worth anything, or just a confusing mess. You’ve stared at the cut, the sound edit, the music edit and the thousands of changes to VFX for so long, it’s really hard to see the big picture anymore. All you can do is focus on getting the details right, and hope the big picture works. If you’ve paid enough attention to the four previous steps, you shouldn’t have anything to worry about – but if you’ve skipped one of the steps above, you might even end up jumping back to uncanny valley and re-opening the cut again.
I feel that with The Ark, we are now stepping from Uncanny Valley towards the Locked Cut. There are still few things I’d like to tweak, and Max has also few things he wants to try out for the beginning of the movie, but I had a great feeling after our Wednesday screening, and I’m hopeful we are pretty well in the way of making the film rock solid.
After the screening, VHQ had arranged a party for the clients, and while I was hopelessly late from there, there was still good vibe going on with loads of people hanging around, having drinks and talking shop and non-shop. I sat down with Chris over a bunch of drinks and chat, but headed back home around midnight (after a quick McD night snack) because the next morning would be an early one for me, as I would be heading back to Finland.
The China Diary continues when I go back next time, so until then, thanks for reading! And don’t forget, Iron Sky The Coming Race is starting its’ theatrical run in our world fan premiere on 16.1. – stay tuned!