A week on – viewing the rough cut #TKTKM – It’s all green to me!

26 May


Well it is – as you can see…here I am working with Jamie Shelton (Roth) Andrew Ellis (Bates) and Kerron Darby (Miller) on the floor of the green screen studio – (Thanks to Ben Louden and Catherine Slater) for the pic by the way

The first roughcut and assembly has been done. A week after we finished shooting. Amazing really and a big thanks to Joshua Callis-Smith for putting it together. Seeing the work you have created over the last 6 weeks in the studio and it all being put in the right order is fantastic.

In terms of the process – the nearest feeling I can describe to you is the one where in a theatre rehearsal you do the run for the tech team in the rehearsal room at the end of week three. The set isn’t there and all the sound hasn’t been mixed – and there is no score or transition sequences.

The reasons for this are that of course we are seeing all the shots cut against the green walls of the studio. So of course there is no ‘set’ in place. The post production will provide the visual language, the world and the spaces in which these scenes inhabit.

What it enables you to focus on are the performances and the story, and how this is told over the 90 minutes of the movie. It is fascinating and really rewarding. I can say without any shadow of doubt that it works, tells the story and the performances are excellent.

So the process begins now of sound editing, picture editing, keying the scenes from the green, the visual worlds of the story will be created and the layers of the story can be laid down and built up on.

The VFX team have a lot of work to do of course, and alongside fellow director Kit Monkman, I will be looking forward to building this into shape. So it is now in the hands of the four of us to steer that process – that is Tom Mattinson (Producer) Tom Wexler (VFX) and Kit and myself.

We will keep you posted about the journey and the build as it progresses.

But for now it is good to be able to take some creative time away from the sharp end, and to keep thinking about the story, the narrative arc, and how we can make that come to life for a new audience, only this time – on screen.

til later



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