Thursday, March 12, 2020
Wednesday, March 11, 2020
Tuesday, March 10, 2020
Thursday, January 30, 2020
Editing Rumi's Protege
Finally, I received the footage from Fatima Ali after the winter break and we started editing immediately. Our Director, Sarym and Cinematographer, Fatima came over to my house to help me out in the editing process so that I have their input on everything.
the screen while I was editing
me editing
I was feeling a little adventurous so we made the decision to make a mask animation to transition the shots smoothly (as shown above). It was a very tedious task as I had to move the mask every single frame but it was worth it in the end as it looked amazing.
Fatima and Sarym stayed around until the color-grading stage, which meant I had to do all the sound design on my own.
For sound, most of the ambient sounds recorded on set were filled with a lot of noise and disturbances which simply weren't good enough to add in the final cut. I recorded all the sounds with a method called Foley Art, where you replicate the sounds in the frame with similar objects. Everything was recorded with foley except for the high frequency reverbs.
I was feeling a little adventurous so we made the decision to make a mask animation to transition the shots smoothly (as shown above). It was a very tedious task as I had to move the mask every single frame but it was worth it in the end as it looked amazing.
Fatima and Sarym stayed around until the color-grading stage, which meant I had to do all the sound design on my own.
For sound, most of the ambient sounds recorded on set were filled with a lot of noise and disturbances which simply weren't good enough to add in the final cut. I recorded all the sounds with a method called Foley Art, where you replicate the sounds in the frame with similar objects. Everything was recorded with foley except for the high frequency reverbs.
a screenshot from the assembly stage
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