FMP – Post-Production

Editing started the day after I finished the final day of shooting in which I gave myself a week and a half to lock my edit to allow time for VFX. I started out with no music which, if you’ve seen the final film, music is a big part. I knew I wanted music as something that drives the story along, so I started editing a scene that didn’t need music, the conversation scene. With the amount of bloopers there were, I had to sort the footage out because it was impossible to try and find the right lines.

Once I found my music, I began editing at the beginning of the film and then moved onto the montage. The montage started out very simple, it was slow in a few places with long shots taking up around 10-15 seconds. I then filmed the close-up shots of the case file on my desk, in which I needed to be careful not to show the surroundings, only the object. I shot about 15 seconds and then sped them up so they were either 5, 10, or 15 frames long. I spread them out during the montage and didn’t come up with putting them at the end until I finished the VFX which was around 3 days before handing it in.

I sort of overlayed the editing and VFX process just so I could show people what my film would look like in the end and get some possible feedback. Editing took around 2 weeks to complete and then an extra couple of hours when putting the sped up shots on at the end.


Colour correction and grading was a lot simpler this time around with the film only being Black and White. I added the tint to an adjustment layer which is above everything in the screenshot. I then added Brightness and Contrast to the same adjustment layer to bring the blacks out a more and make the image a bit darker to suit the world. This just gives the timeline an extra bit of tidiness as I can shut off the tint in one click. The shots that were tinted in After Effects only got a Brightness and Contrast adjustment layer as they didn’t need to be tinted again.

The sound was a pain in this project.

The music I got was from ‘The Kilimanjaro Darkjazz Ensemble’ who have an album called ‘I Forsee The Dark Ahead, If I Stay’ who are a very experimental band who create such interesting and unique songs that still have Jazz elements to it but is done in such a weird way that it’s creatively mesmerising. I used the first two tracks from this album, Celladoor and Lobby, which fit perfectly into the environment and world I showed off in the film.

It was very hard trying to find music that fit perfectly with what I had in mind. I went on countless Royalty Free Music sites but everything just sounded cheap and bad. Using a professional song is a lot better than sifting through bad, royalty free music all day with no luck.

When it came to adding sounds, most of them I did without the internet. The knocking on the door was recorded at my back door with me doing the knocks and the vibration of the phone was me recording my phone vibrating. The only sound I got off the internet was the bulb smashing because I don’t want to cut myself and get glass everywhere.

The voiceovers were done the Monday before the hand in day. TJ and I went on Skype, I typed in the things I wanted TJ to say and how he should say them. It went smooth with a few hiccups with the internet along the way but we managed to get them all done. It was good we had communication when he was doing it because there were a few moments where he didn’t do it the way I wanted or he made a mistake and didn’t notice. With this communication, I can tell him exactly what I want and even give him an example with my voice.

I did try and do everything myself but most of the time I don’t have the resources to do what I need. In this type of project, you really need to push yourself to show people what you can do and talk about how you did certain things.


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