Today I sat down with the editor to get a full working sequence for the film. We managed it in 5 quickly paced hours (2 coffees helped me).
Thankfully I could walk into the edit suite this morning with the possibility to create the whole film, having spent most of Monday, Tuesday evening and a 6am start today with the writer. This accounted to knowing all the footage very well, having a theory of the structure and a conscious idea to what we could do with the V/O we have. As someone recently stated, you make your own luck with preparation.
Being a deaf director, one of my main blocks for developing the film was not having an audio transcript of the interviews. The writer was incredibly kind to write out the dialogue from the five interviews (a wooping 4ish hours!). As soon as I read it I connected again to the story, it was like someone turned the light on.
Going through this process of making a film through this scheme has given me a chance to test out all sorts of things, and as it turns out, i’ve identified problems and solutions for my disability that I just didn’t think before. This means next time I step into a project like this I know what I need. I know it seems obvious, but when you are thinking about everything to do with the production, its easy to bypass your usual needs.
Getting back to the point, I was prepared and in a good position to get the things we needed. I had a mock up to some of the film sequences and I knew we wanted the structure to mimic the training session at the velodrome; preparation – 1st track set – break – 2nd track set – break – 3rd track set – finish. Erinma, the writer, drew the timeline out shaped as a coil (see photo) and explained that the story could be three repetitions or loops told through the voice of three characters representing different points in time. Each loop or story builds on the last.
The archive footage naturally translated to the film as its very existence and motive for being created means there is a story. The velodrome footage was a little harder to cut at first as it existed more as a document of a present day cycling session, it didn’t have a history to it. What shaped our use of it instead was the structure of the session.
Our editor can naturally see time and sense and puts together shots beautifully at the right moments. Not being the person doing the edit for once meant I could relax and focus on the picture as a viewer rather than operating, this also really liberated my working in this film. Sometimes, when following a project all the way through it can be hard to see it objectively, todays edit really helped me to do this.
Our sound designer, Kevin Logan is coming to Manchester on Friday and will record original sound at Manchester Velodrome (who have been fantastic with accommodating us). We will then upload and work out the sound over the weekend ready for the editor to work on the grading and subtitles Monday evening.