The cut of How We Got Away With It has, essentially, been locked. After many many different cuts and a major reworking about halfway through the editing process, Jon and Tony have reached a cut that we are very happy with. I’m not calling the cut locked just yet because we have a couple shots that some rotoscoping is being done on and we expect those clips to be trimmed a bit. Bust, for the most part, we are there.
The above shot is from Jon’s office. That’s a shot of McCaleb from the beginning of the film which is open in Final Cut 7, which is what we have cut the film on. Above the monitor you can see the notecards with frame grabs that Jon has created for every scene of the film. These cards are covering every inch of wall space in the office. They are a great physicalization of the film and especially helpful in reorganizing the order of a film, as we did about halfway through the editing process.
We have hired Seth Ricart to color the film for us. Seth is a very talented colorist who has a long background in commercial work and is breaking in to features. Seth Ricart came to us by way of my good friend Seth Fisher who’s film Blumenthal was shot about the same time as How We Got Away With It and is in a similar place in post. Ricart is also doing the coloring on Blumenthal. Seth Fisher spoke very highly of Ricart and we met with him while we were considering a handful of other colorists that we thought would be good for the project. We were taken with Ricart’s work and his highly artistic eye.
The film is about half way through the process with two of our four color sessions having taken place over this past weekend. We’ll have two more in the coming week. I’m in Norfolk, Virginia doing Death Of A Salesman so Jon has had to take the bulk of the coloring load on himself. After settling on a colorist I pulled myself from the onsite work knowing that it wasn’t right for us to wait until I got back to New York. As a filmmaker I desperately want to be there. But as a producer, I knew I couldn’t hold up the process for a month. We’ve been lucky to have our DP Michael Belcher has also been in on the sessions as well.
In this picture you can see Seth working. He’s looking at an image of McCaleb from the beginning of the film. This picture gives me great joy because Seth Fisher has a very similar shot on his blog talking about color correcting his film. There’s something very special in the symmetry of having a friend going through the same process knowing that he was standing in the same spot, with a film that he has loved and slaved over as much as we have with ours.
The majority of color correction and grading will be completed by the time I get back to NYC in two weeks. I went to see the final cut two days before I left to begin rehearsal and I’ll be seeing it again as soon as I get back. However, it will be like seeing the film for the first time as it will have literally come to life while I’ve been gone.