After redrafting the film and locking the picture and sound cut, I've been working on colour correction and final tweaks before exporting the film. With limited time available to work on the film's colour I have left most scenes at colour correction rather than grading, although I have also put thought into the effects of the colour schemes I have been applying.
I have been grading the film using Sony Vegas's in-built colour correction effects; specifically the three-way colour wheels, brightness and contrast, saturation and colour curves - using the RGB parade waveform as a guideline for each shot. As I moved through each scene, the biggest challenges I faced was keeping the colour consistent across the scenes and also correcting shots which were greatly underexposed and where the white balance was off.
For the interrogation scene we decided on using a desaturated, high-contrast look to exaggerate the harsh lighting and provide a visual contrast with the colour in the following scene, where the mood is more comedic and relaxed. The high contrast, which I applied using the standard 'S' colour curves, was also needed to hide the background and the villain's mask, by bringing the shadows down.
Due to the rim light not providing much of an outline for the interrogator, I also boosted the highlights in these shots. Also in this scene I corrected the yellow glow from the desk lamp to be colder and more consistent with the other lights, as this was causing an orange hue on some of the insert shots.
Before correction - orange hue and colourful
After correction - desaturated and colder
The house scenes were the most difficult to correct as the lighting provided a strong orange glow throughout the environment. Using white objects and clothing as reference, I added blue to the highlights to cancel out the glow. I also added saturation and contrast to the scenes to bring out the colour in the set elements, and balanced shots which were underexposed using colour curves.
Before correction - orange and underexposed
After correction - boosting highlights and correcting hue
When moving to the Grindleford scenes we had agreed that we wanted to bring out as much colour as possible in the environment, To do this consistently across the scene, I used the colour wheels to add a red and green hue to the lows and mids, bringing out the colours in the trees, grass and leaves.
Before correction - desaturated browns
After correction - adding greens
To create the look of an older camcorder footage I desaturated the image, reduced the contrast and added noise, as well as experimenting with TV damage effects. The sequence shot in the reporter scene was quite challenging to balance due to the first part of the scene being brighter than the second, and also there being a very warm colour temperature which I could not fully correct, despite increasing colour on the opposite side of the wheel.
Before correction
After applying contrast, curves and colour correction, the scene had a more accurate but greenish tint, but I felt this was appropriate to the TV look if we were also filtering the audio. I had considered also adding interlacing lines and other TV effects to the screen, but felt this would be too distracting and unnecessary.
In the consequent villain scene I returned to the de-saturated, high-contrast look of the first scene, which also helped to hide the interrogator's face and make him appear more intimidating under the low-key lighting.
Adding contrast
In the second Grindleford scene I once again added the green and red colouring to the images, which was necessitated by the lack of light we were receiving at that time of the day, making the area look washed out and brown. As this changed greatly between shots, I tried to keep the look as consistent as possible. I also used the video scopes to help manage blacks and highlights, keeping an even spread across the spectrum.
Before
After
For the part of the scene where Ed discovers Laurence is missing, I had used a low rumble to create tension and suggest that something is wrong. Whilst correcting the scene, I had the idea of creating a subtle visual contrast here also, moving to a colder, darker colour scheme of blues and greens.
I started this from the shot of the camera lying on the ground and continued it up until the end of the scene, which I feel worked well to break the light-hearted, idyllic atmosphere created by the natural colours of the forest.
Before
After
Similarly, I used a colour change at the end of the interrogation scene. As the light changes in the room, I also used a quick cross-fade to change the colour, contrast and saturation of the scene - bringing out the colourful elements of the set design and emphasising the break in the tense atmosphere.
Upon my final review of the film, I made some slight tweaks to the sound and colour grade, and then exported. Due to time constraints and the amount of correction required, some of the colour work is slightly inconsistent across some scenes - but overall the images are balanced.
In addition the grades I've applied in some scenes have been thought out to reflect the needs and emotions of the scene, and I feel I have succeeded in creating clear visual contrast between scenes of tension and comedy, as was our intention with the story from the beginning.
After presenting the rough cut of the film to our peers, I asked my group to review it and suggest changes to be made. From reviewing the film myself I have already identified some areas for improvement, and an overall sharpening of the pace and dialogue. I set Wednesday as the deadline for giving feedback, at which point I will have to lock the picture and begin colour correction.
Our director Alex provided feedback first...
Followed by Chris, in response to Alex...
Whilst I agreed with some of the changes Alex suggested, particularly around the unconvincing voice-over, overall I felt he was being too self-critical and negative of some of the earlier scenes - which he was suggesting to cut completely.
I strongly disagreed with his suggestion to cut the bedroom scenes following the montage, and I do not feel that they 'let the visuals down' at all, as they are entirely functional in the film. Following his feedback I had considered trying an edit where the fast-cut montage sequence leads directly into the Grindleford scene, but after discussions with other group members decided against this as these scenes were valuable for comedy, plot and character development.
Although I value his feedback, saying that he 'despises' a certain line or scene is not useful, constructive criticism for editing feedback, and as we had been aware of this throughout production, an alternative had never been put forward.
I agreed also that we reveal too much of the villain during his spying scene, and I revisited this scene to cut out the MCU where we see his entire face.
Alex suggested that we should hold on the shot at the end until the very end of the scene, which would add another 30 seconds to the film for no real effect, and so I did not implement this change. However, I did revisit the ending to make it more upbeat in a similar style to what Chris suggested, and I responded to their feedback before starting changes.
Overall, my main changes to the edit were corrections with sound, cutting a selection of unnecessary shots and generally improving the pace of the scenes and dialogue - cutting 40 seconds from the run time. Below is a full list of changes, which I provided to the group afterwards with my second draft:
Scene 1 - Brought the cut to black closer at the end of the scene, and introduced the audio from the next scene sooner.
Scene 2 - Removed the line 'Really, its that simple' in response to feedback and adjusted edit to fit. Also improved the pace of the exchange between Laurence and Ed and tried to balance the quality of the sound in different shots.
Scene 3 - Trimmed down some dialogue in the bedroom scenes to improve and balance pace across the sequence.
Kept all of the scenes but cut some of them down where the comedy was not coming across or lingered too long afterward.
Cut out a shot of the bag being placed down as it was not required and didn't have a sound effect attached to it such as the zip or clicking of the tape.
Tried to cut down the scene on the stairs but did not work due to the need to hold on a shot whilst dialogue from the next scene fades in.
Scene 4 - Improved the pace of the exchange and introduced the next scene transition quicker.
Added an ambient video camera noise to the camcorder footage as an atmos track, and 'resonant filter' effects to make it sound more camera-like.
Completely replaced the news reporter's VO with a new actor, and added similar effects to their voices. Also added an extra news ticker to the screen to fill the space.
Scene 6 - Took out the MCU where you could see too much of interrogator's face (below), but had to keep in the slow reveal of his hood as the sequence did not cut together without.
Scene 7 - Adjusted the effects on Ed's voice at the end of the scene to be more natural.
Scene 8 - Tightened up dialogue and improved pacing for the entire scene.
Did not change take of Lewis's performance after reviewing other takes and deciding it was the best.
Scene 9 - Cut to black after the bin it shut when Laurence exits the house - used the dramatic whoosh sound and introduced the music back for a more upbeat ending.
Once this was done, I shared the redrafted version of the film with the group and explained the rationale for changes, including scenes/shots which I have kept in as they are necessary to the structure. Although I opened it up to further comment and small changes, I also announced that it was close to the final version as I would be starting the final colour correction ready for exporting.
Over the past few days I have been preparing a sound cut of the film, what has included finding sync dialogue sounds, implemented new recordings such as voice-overs, atmos and spot FX, as well as using sound design creatively to add tension and suspense to several scenes.
Matching the sounds and dialogue has been by far the most difficult and time consuming part of the project due to us not continuing to label shots and takes after the first two days of production. Our sound recordist Chelsie did provide me with the sounds labelled as accurately as possible, but this was mainly just of what we could hear in the dialogue of the scene, so I had to match sounds and clips up by ear - wasting a lot of time. This is the main area of our production method which I would look to improve on future projects.
To do this I came up with my own process, whereby I copied the clip from the rough cut and placed it against a marker in the timeline - then I dragged out the clip to its beginning until I found the matching audio clip. Then I grouped them together, trimmed it back down the marker and inserted the audio clip under the original clip in the edit.
Another huge challenge with the sync sound we had recorded was the difference in the quality of the sound between cuts, which is at times jarring. For example, in the shot/reverse shot sequence of the second scene, where Ed and Laurence are talking to each other, the recording sounds more bassy in one recording, and much clearer and higher frequency in the other.
For the most part this wasn't fixable with EQ so I tried to keep the atmos track as consistent as possible instead. However, this was also difficult, particularly with the scenes by the stream in Grindleford as our proximity to the sound source changed a lot.
In addition, most of the sound recordings were very quiet, to the point where the camera recordings were at least 2-3x the volume. As a result I had to apply large amounts of gain to every clip and to the master bus itself, around 12-18db, which also increased the background hiss and made it even more difficult to balance. In future productions I will make sure to review sound levels both during production and after each day to ensure that they are at adequate levels, in order to prevent this issue again.
For the opening of the film I used many different elements of sound design to build tension and suspense. Whilst the screen is black I wanted the sound to mimic what Laurence would be experiencing at that time, so I recorded myself breathing and also a dripping tap to give a sense of the space. I also wanted to create a more dramatic whoosh sound when the bag is pulled from the character's head, so I experimented with recording the sound of different fabrics being pulled across the microphone, which worked well.
I used a number of other atmospheric sounds during this opening sequence, such as low rumbles and bassy tones to create a sense of foreboding. These were useful at multiple times throughout the rest of the film to instantly create a tense atmosphere, such as when the villain is watching them on TV and when Laurence disappears.
During production we were aware that we would have to alter the voice of the interrogator to sound more robotic and intimidating, so consciously avoided overlapping dialogue. To create this effect in the edit was simply a case of splitting the audio clips for the interrogator's lines and shifting the pitch down a third.
Changing pitch
For the TV audio in the second scene, I dropped all of the low and mid-range frequencies to create the effect of it coming from the TV. This was maintained throughout the scene until Laurence has the idea of creating the video, where I did the opposite - dropping the highs and leaving only muffled low frequencies to convey the change in his thoughts.
Boosting high frequencies
Cutting high frequencies
For the scene in Grindleford where we see Ed walk through the forest in the gorilla suit, I added sounds of grunting, wheezing and footsteps on leaves which we recorded at the time of production,
To emulate the low-quality sound of the video camera I cut the low frequencies, and in the following news reporter scene cut both the low and high frequencies to give the effect of TV playback. I also edited, stretched and compressed the voice-over we have recorded for the news reporter to fit the picture cut.
EQing the reporter's voiceover
As mentioned, for the villain scene I reintroduced the low rumble for tension, but also added another subtle, high-pitched motif. I then played this sound again when we see the interrogator's POV of Laurence and Ed in the woods, providing an audio cue to suggest the villain's presence.
To create a sense of panic and alarm when Ed finds Laurence missing, I dropped out the atmos of the stream and introduced a disturbing, high-pitched sound. As he shouts 'Laurence!', I added slight delay to his voice to create an echoing effect suitable for a large open space. I used a similar effect to create a megaphone effect when Laurence shouts earlier, also adding distortion and a preset 'Phone line' effect' to achieve it.
Megaphone effect
The interrogation scene required by far the most audio work in the entire film, combining effects, spot FX and dubbed voice-over. After applying the effects to the interrogators voice and adding atmos tracks for tension, I also had to implement the interrogator's mother's voice, his walk upstairs, and their arguing off-screen - all being recorded after production.
To get the exchange between the mother and the interrogator, I scripted and recorded an argument between me and someone else, making sure it was consistent and lasted long enough to complete the scene. After spending a lot of time on the sound work for this part of the scene, I managed to fit all the audio and information in without having to adjust the picture cut.
To create the effect of his mother shouting from off-screen and upstairs, I panned the sound to one side, reduced the volume, added slight reverb and dropped the high frequencies.
My main aim was for the sounds to come in sequence logically to match the images and most importantly the lighting change. Firstly, the mum shouting downstairs, then the interrogator's response and leaving, then the spot FX of walking up the basement stairs, the door slamming and then the muffled continuation of the argument off-screen.
As Laurence leaves the house the argument is indicated to be still audible, to which I reversed the effect of the EQ - cutting low frequencies and panning as the camera turns away from the house to give the effect of that as its source. Finally, the sounds of Laurence speaking on the phone and his footsteps were both dubbed, and I used EQ and a volume envelope to match his movement away from the camera.
Although our oversights in production have vastly increased the amount of time I have needed to spend on the sound cut for the film, I am pleased with the overall result. I am most happy with the additional elements of sound design in some scenes, which work to immediately establish a mood and tension, and the complex sound work on the final scene works well overall.
Now that this cut is ready to present to my group and peers, I will receive feedback from them before moving on to re-drafting the film and applying colour correction next week.
I started post-production by importing all the footage and splitting it into labelled bins, organised by day, scene, location, camera and audio/video.
Labeling bins
It was important that I split it by day rather than scene as we re-shot both the basement scene and some of the montage scene shots, and so I did not want to mix up these together in case I used the wrong clip and broke continuity. Being involved so much in pre-production and production also helped in navigating the footage as I could remember the best takes and the order of which the footage was shot.
Once this was done I started assembling the film using clips and camera sound, but also taking note as I went of both spot SFX and other creative elements of sound design that would be useful to gather in order to enhance the film's impact. Some of these had already been discussed prior to production but most were purely experimental, such as using a high-pitched tinnitus sound when the bag is pulled from the character's head at the start.
With the first scene I opened to the shot of Laurence in extreme close-up, with a very shallow DOF that conveyed his wooziness and confusion.
For the first time we had shot this scene, we had used another lighting change to convey the character's eyes adjusting to the bright light from total darkness, turning down the dimmer on the light after a few seconds. It was our main intention to put the audience in the experience of the character at this point, sharing the same confusion, hearing the same sounds and having the information about his location revealed as he would find out.
On the second basement shoot, we hadn't used this extra lighting change but I still wanted to keep its effects, so I duplicated the clip, added large amounts of gain to the top clip and faded it out over several seconds - which worked well.
After this I used the shot of his hands bound by rope, and then once the interrogator begins to speak, I moved into an OTS from his perspective, revealing his presence only when the character becomes aware of it too. As Laurence looks up I cut to a POV shot of the interrogator, a decision I put a lot of thought into. I considered the effect of not including the interrogator in this pre-titles sequence to create mystery for the audience, but ultimately without it the take of Laurence was too long, and I needed the extra cut to maintain the pace and tension.
The final shot of this sequence, although slightly soft due to the camera movement, worked well as a transition into the next scene, and with this in mind during production we made sure to hold on it for a number of seconds afterwards.
As I was assembling the film, I was previewing each clip and take for the best as during production we didn't have the time to write camera reports and log shots for most of the scenes. This was not a problem at this stage as generally the last take has been the best, but I anticipate this will make things very difficult for the sound cut coming to match audio with the clips.
During the titles I introduced the sound from the TV from the next scene, easing the cut as we completely change location, mood, atmosphere and perspective. I edited with the TV during the rough cut as we wanted to match the lines from the TV Bigfoot documentary with Ed lounging on the sofa - as had been our intention from writing the script.
From here I cut immediately the Bigfoot documentary on TV - using chroma key and blur to position it within the frame.
We hadn't noticed the similar hue from the light on the windowsill during production, which was also being keyed out - but fixing this was simply a case of applying another layer without the chroma key effect.
From here, as we'd discussed, I cut to the pull focus of Ed's foot as he sits on the sofa, It was our intention to draw as much comedy from the comparisons between Ed and the descriptions of Bigfoot on TV in this scene, and so I spent time making sure the timing of each worked well. The visual contrast between this scene and the first also was indicative of the move to a much more light-hearted tone, saturating the set with colour whereas the first scene lacked it.
From here, due to the amount of coverage we attained, the scene cut together quite easily and I had options for creating meaning from the shots used. For example, the wide shot of the room including part of the TV was useful to establish the geography of the space, as well as to show what they are looking at before cutting to the TV.
The side-angle shots of the characters were the most useful for the quick, shot/reverse shot dialogue between the two characters, and the depth provided by having objects in the foreground was much more visually appealing than the singles, which excluded the other character awkwardly.
That said, I used the single shots at several points to emphasise when the character has a view that is specific to them, or that the other character disagrees with - creating a visual divide. For example, when Ed says 'Believe what you wanna believe mate', or when Laurence voices his feelings about the videos they're watching.
The end of this scene was the most difficult to accomplish, due to our ambitions during production. We had filmed a shot from Laurence's POV where he looks across from the TV over at Ed, but after several attempts at motion tracking the green screen, I had to look for an alternative. Luckily, due to having run the scene from a number of different angles, this was still quite easily achieved.
The key to editing this part of the scene was to convey Laurence's thoughts as he comes up with the idea for using Ed in a hoax video. I re-edited this part a number of times before I was happy with it, changing the timings around for cutting between the two characters. To emphasise the strangeness of seeing Ed in the suit, I used a slight digital zoom outwards from the shot. With the movement of the character's head backwards, this worked well to create a slight warping effect.
I also used a slight digital zoom inwards after seeing Ed in the suit, a convention used by many films (particularly to precede a montage) to infer that a character has an idea, or that we are moving into their thoughts.
With the transition into the next scene, a sequence where we see a montage of Ed and Laurence designing and making the costume, I was unsure how to include all of the footage we had taken of the different actions. In the script this sequence, including the speaking scenes we had shot in the bedroom, had all been part of the same montage, but starting to cut that with the music we had chosen did not work as it lacked the same pace. Omitting the fast-cut montage scenes we had shot and going straight into the speaking scenes worked but lost all of the energy without the music and the other actions.
Ultimately, I created a short, fast-cut montage sequence using our quick action shots to the music, and used the slider shot in the bedroom to cross-fade into the next speaking scenes (without music). Although this essentially creates two montage sequences, and would ideally have been integrated much more, we had not really considered how the two would work together at the script or the shot list stage, and so this workaround was necessary. I also rendered the sequence separately for the group to preview and approve, explaining the situation.
Creating the montage itself was quite simple, with the upbeat country music track we had chosen guiding my cuts. The sequence essentially presented its own logic for structure, as Ed was in a number of scenes gathering items and performing actions, whereas Laurence was sat at the desk attempting to design the costume. Therefore, I tried to cut between them chronologically, as Laurence's designs became more and more developed.
Cutting the scene in the bedroom following this was again made simple by our coverage of the scene, using the master scene method. Starting with a two-shot to establish the characters in the setting, I moved into OTS shots of them both, which allowed me to use the strongest performance from each character. As I had essentially presented the edit in writing the script, the inter-cutting scenes worked smoothly, and I used J-cuts to transition between them with pace.
For the short scene where Ed takes out the camera from the wardrobe and inserts the tape, I split the shots into short, punchy actions with associated sound effects, using a digital punch-in similar to the style of Edgar Wright to exaggerate the action further. For the scene with the video camera following this, I added a generic 'Rec' overlay to the image as well.
To transition into the next scene we changed the angle of the shots to medium close-ups, again using a slow push-in with a cross-fade to move into the next scene. Having our scene transitions included in the script definitely helped us when it came to production as we made sure to hold on each shot, giving enough time for the fade into the next scene.
Again, the coverage in the Grindleford scene was enough to have options when editing the scene; OTS shots from both character's perspectives, a CU and MCU of Laurence, inserts of the paper and, even though I did not need to use it, a wide shot of the entire scene as a contingency (below).
The more challenging part of the scene to edit was the ending where Ed walks out of frame past the camera. Again, we had identified this as our transition to the next scene by using a J-cut as he shouts 'Action', From here we used the XF305 footage made to look like the video camera, before including the shot where both characters review the clip.
When I shot this scene I had this specific edit sequence in mind as we couldn't show the characters filming or looking at the screen on the props camera. This worked well in the edit, and the particular shot is one of my favourite from the entire film due to its framing and the performance of the actors.
The transition into the following scene, a news report showing the monster in the woods, was difficult to make look convincing. I used a news jingle and flash to white to make the initial transition, then used a customized and animated news lower-third template to provide the aesthetic - combining 6-7 layers of text and animated clips with alpha channels.
I had initially given the task to get the lower-third to the rest of the group whilst I began the edit, but as nobody provided anything I had to find one myself. I also didn't have the time to customize it fully and add tickers and other information to the screen.
The next scene with the reporter was our sequence shot, and so we had a large number of different takes to select from. When choosing the one to use, we looked at a number of elements, including lighting, performance and camera movements. In some clips some of the elements were better, but others worse, so I opened it up to the group to select their favourite - uploading all of the takes to a playlist on YouTube.
In the end the clip we chose was a strong balance of all the elements. From here I transitioned to the next scene where the villain is watching the news report on his laptop screen. This was by far the most difficult and time-consuming part of the film to edit due overestimating our ability during production and not getting a backup to use instead.
Using a green screen on the laptop, we aimed to pause the news screen then track outwards to reveal the laptop and the villain's hand. However, due to my inexperience with motion tracking and masking, and our limited available time, this was not possible to achieve and I had to look for an alternative approach.
After failing to key-frame the screen in a number of different ways, I placed the video within the keyed-out frame and then took a screenshot of the image together. From here I used pan/crop to zoom out from the screen, mimicking the tracking shot we had used. However, I could not get the zoom out to match the smooth, eased-out movement of the tracking shot, and without the move through 3D space it looked very poor.
Instead, as a final work around, I used a shot of the villain clicking the mouse as Laurence is talking to stop his speech, then cut to a subtle zoom in to the laptop (creating tension and conveying Laurence as the villain's focus), then to an ominous reveal of his character. Although the instant switch to the other scene as the character clicks is slightly jarring for the audience, this was the only work-around that worked with the limited footage I had.
With multiple shots of the next part of the scene, where the villain looks through the files, I was able to control the pace much more. The slow pan down the document to the photo, and the reverse shot showing the characters' shady reaction worked well to build suspense, and then rather than use a lens zoom during production I used a digital zoom, pan and rotation to cross-fade into the image and somewhat match it to the shot of Ed on the rock in Grindleford.
As we were avoiding showing the villain at all during the following Grindleford scene, and just inferring his presence through the POV sequence, it was important that we did everything we could in this scene to suggest he is present and targeting them.
Although we were very rushed to shoot the end of the scene, the coverage we had of the second Grindleford scene again gave me options in the edit, and allowed me to try the effects of placing different shots in order - such as starting with a close-up of Laurence pulling down the megaphone, and then revealing the geometry of the scene afterwards in the wide.
The idea with this, as indicated in the script, was for the audience to not know what is happening with the initial shot of Ed in the suit, until the harsh cut and loud noise of Laurence from off-screen.
When the twig snaps and Laurence turns around, I used the shot from behind to again suggest a presence watching him, and then of the hand-held POV shot looking down on him from the hill above, conveying his vulnerability.
I then decided to use this shot again afterwards when Laurence was not looking back to convey that he is still being watched, unawares. One of the weakest parts of the scene was trying to convey that Laurence had been kidnapped whilst focusing on Ed, using the audio cue of a megaphone whine. As we could not get a shot of Ed walking from the rock up to where Laurence was sitting, I instead used his entrance into the video camera shot (below) to help ease that cut.
Similar to the shot of his feet at the start of the film, I felt that putting this shot first rather than the wide was more visually impactful, and by withholding the information about the rest of the surroundings it builds suspense for the audience.
As we didn't have the time to get the coverage we wanted for the end of this scene, where we had planned to shoot from a number of different wide angles to convey Ed's panic, I split up the shots, flipped them and replayed them to create a more frantic, fragmented feel. I withheld the wide shot until the end, revealing the entire scene and transitioning much more easily into the next.
For the final scene, I had deliberated shortening the opening as we have already seen it at the start of the film. However, due to the timings of the actor's performance, looking behind and then up at the interrogator - it was more appropriate for me to keep it the same. For the rest of this scene I moved between an OTS MCU of Laurence, the POV of the interrogator, various insert shots and a closer shot of Laurence as the scene intensifies.
As I previously mentioned, the OTS shot from Laurence's perspective (below) had issues with mis-framing and the light bouncing from the table to illuminate the villain's face, and so I did not use this.
Without the voice-over of the mother calling the interrogator upstairs, I did my best at this point to allow space to include it. As the scene reaches its climax, I used a slight push in on the interrogator, which stops as soon as his name is shouted. From here I cut to Lewis's reaction, then back to interrogator, seeing his head sink and sigh. The key shot in this sequence was the mask being placed down on the table and the lighting change, which I held on his reaction for.
The rest of the scene played out exactly as we had planned, with the master shot of Laurence walking around the room and inspecting the set and the closer shots of each element, such as the conspiracy board, the toy UFO and the cassette left on the table. With Laurence's exit, this then cut very easily into the final scene in which we used a single take to show Laurence leave the house.
Having finished the rough cut, the film is at 11 minutes in length. I will now start adding recorded sounds and other elements of sound design, some of which still need to be sourced/recorded by other members of the group. Once this is done I will show the film to my group and peers for feedback, at which point we will cut the film down and begin final changes and colour grading.
However, with the attention I've paid to the rough cut I don't anticipate that there will be many drastic changes to be made to the cut, although at this stage I can identify several areas lacking pace which can be improved or cut.
