Good afternoon, everyone! I trust this email finds you well.
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We've been making headway with the film. The basic editing is done. Subtitles in the film, done. Key characters introduction, done.
It looks like I have produced a feature film after all. Well, I call it a "SHORTFEATURE." I don't care what the rules in the film industry says. If you have a film that is 60 minutes or less, it's considered a short. If it's over 60 minutes, it considered a feature. I call it a shortfeature, because it is a short and it just got a little longer. THE FULL VERSION is 130 pages. Therefore, what I have edited is not the complete story. This shortfeature editing version is my director's cut and this is what I will premiere at the sneak peek screening, sell DVDs, and tour with the film across America and internationally. My intention is to raise the funds to produce the full feature or my next film project, whichever comes first.
Overall, this shortfeature will be approximately 90 minutes long, maybe less. We shot this movie directly from a 39-page screenplay. Technically, a script page is equal to one minute. How it got long? Because of the special effect visuals, opening themes, and, of course, improvises. As a deaf filmmaker and the one editing the film, this is worth mentioning-- sign language, reactions and emotions are usually expressed differently than actors that phonetically-speaks. The timing of the actors' dialogues and dynamics tend to be different in duration and length.
So basically, we will have two versions, one long and one short. The short version will be under 20 minutes for the festival circuit. I've envisioned that this short will get picked up by one of the distributors so we can shoot the full feature. I am hiring another editor to work on the short version and create a new trailer for the movie.
A couple weeks ago, I invited some of my deaf actors and ASL spectators to view the rough edits. I've received great feedback. I was pleased with the outcome. Their feedback also gave me ideas to improve the editing of the film.
STEP-BY-STEP PROCEDURE TO GET THIS FILM DONE
The next step we will do is create visual effects. Once that job is done, then will insert all visual effects in with the edits. Then, if I am happy with the entire movie, I will lock it.
Then. . .
1: Hire a sound design team to breathe lively sound effects for the film.
Sound design most commonly involves the manipulation of previously composed or recorded audio, such as sound effects and dialogue. In some instances it may also involve the composition or manipulation of audio to create a desired effect or mood.
2: Color grading/Correct - Hire a colorist to work magic on the film.
Color grading is the process of altering and enhancing the color of a motion picture, video image, or still image either electronically, photo-chemically or digitally. The photo-chemical process is also referred to as color timing and is typically performed at a photographic laboratory. Modern color correction, whether for theatrical film, video distribution, or print is generally done digitally in a color suite. It's usually a collaboration with the director of photography, director and producer.
3: Hire a music composer.
A film score (also sometimes called film music, background music, or incidental music) is original music written specifically to accompany a film. The score forms part of the film's soundtrack, which also usually includes dialogue and sound effects, and comprises a number of orchestral, instrumental or choral pieces called cues which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question. Scores are written by one or more composers, under the guidance of, or in collaboration with, the film's director and/or producer, and are then usually performed by an ensemble of musicians – most often comprising an orchestra or band, instrumental soloists, and choir or vocalists – and recorded by a sound engineer.
4: Opening and Closing Credits
Lastly, I have to create the open and closing credits. Oh, God... I have SO MANY people to list, so many associate producers. This is going to be a longass scrolling credits. I imagine it will be about 5 minutes run. I will make sure the composer create music for the opening and closing credits.
So people, this process is long and tedious. In fact, some of the creative team will be contracted on defer pay. It's not easy finding the ones who are willing to accept it. We're still under our postproduction budget. However, we will make it work!!!! You cannot rush the creative process that's why we have moved the sneak peek premiere in the fall. We will be working throughout the summer.
I will see you all at the red-carpet! I will update again where we are later summer. Please follow us on Facebook. It's the only way!
In the first picture:
Watching their reactions while they watch my work-in-progress creation is the most important feeling for a #screenwriter. Jubil and Christina are not seen in the picture.
In second picture is Robert Hura, a special effects artist whom I met at Sundance Film Festival this year.
As seen in the picture, I'm conversing with Robert Hura, a special effect artist for the film, "The Beast of the Southern Wild." This film was nominated for four Oscars and several accolades. I was describing special effect shots I need done for The Shattered Mind. The basic editing for the film is done. Since I'm new in the VFX department, Robert suggested that I take screen shots of the work I need done so he can analyze them and read the script before taking on the job. MY GUT TELLS ME, HE'S GOING TO DO IT. HE'S CURRENTLY ATTENDING CANNES FILM FESTIVAL. LUCKY GUY!