In The Cutting Room - The Messenger

Our editor, Ulrike Munch, started work, today, 23 July 2104, cutting together sequences from the first two days of rushes.  There's a whole process to doing this.  Before Ulrike starts her work we have to get the files from the set to her cutting room in London.


The film is being shot in the Peak District and so it's a good four hours (in free-flowing traffic) from the location to the post production house we're based at in London. With filming running until gone midnight at present.  This means that the rushes (that days raw shot material) are transported in the early hours to be in to the cutting room by 10 am next morning.

Our DIT, Steven Rundle, (who's responsible for taking the footage from the camera and making safety copies and organising the vast volumes of data involved) takes the raw picture and sound data and makes a special version of what's been shot and copies it to transit drives which are rushed down the motorway to the editing room.  Once there, the assistant editors synchronise the sound to the picture and make the footage available to our editor, Ulrike. She then starts putting together sequences from the footage.  This involves going through the (sometimes) many takes of a particular shot, deciding which take to use (she will have notes about the takes the director prefers) and digitally joining it to the other chosen takes to create the rudiments of a scene.

This is the beginning of it all coming together, creating scenes ready for director David Blair to comment on, so that the job of editing the film is well advanced (although far from complete) by the time the filming is finished.