The answer print screening went well. A couple of small fixes to be made. Jody, the producer, went back to the digital edit suite @ Technicolor and tweaked the brightness on a couple of shots in reel #2 - Tech will go ahead and shoot this to film and then we should be done on the film side of things.
After the film part is taken care of, the video masters must follow (and the nagging inclusion of closed captioning - it’s obviously a good thing…heck, it’s mandatory in this country, but a p.i.t.a. to seamlessly complete so that you’re not sitting around, waiting for the closed caption file to be completed by the supplier while your post schedule is being held up). We are all hoping that Keyhole will show at TIFF (Toronto International Film Festival) - I am confident in this. The hardest part of post is keeping the engine running and not getting distracted by sub-deadlines (like film festivals), though paradoxically you need them for so many reasons (publicity, new distribution sales, etc..).
Now, a warning (to most): the schedule that Keyhole has operated under would break, batter, and perhaps kill 99% of the semi-professionally made feature films out there. I’ve been rather upfront about what we have been able to achieve given the short amount of time for colour correction, sound design, and especially sound mixing. We are blessed by several things:
- A great fucking crew. Seriously. You can’t pull that out of your ass - it takes time to build such a thing, and so it would be dangerous for anyone to assume that this was only a small part of Keyhole’s successful execution. In particular, I worry about any producers out there thinking that all of this was just a matter of money management and not picking and choosing the people who grace (yes) the project with their talent and hard work.
- Planning. I’ve worked with Guy before, but Jody Shapiro and Jean de Toit have worked with Guy on nearly everything he’s done since 2000. They understand how Guy shoots - even when the format is changed, as it was on Keyhole - and understand what to allow for in each and every category of production. As regards post, they consulted extensively with all the post houses to see whether they could achieve the end result we have now.
- Great post production talent: the folks at Technicolor (from colourist to coordinators), Tattersall (sound design/mixing), composer Jason Staczek, and particularly the efforts of picture editor John Gurdebeke. His initial sound design (and colour correction) saved the production a tonne of time and expense.
In other words, you could take the same camera, the same post schedule, the same list of deliverables, but you could not replicate that which is Keyhole. I say this as a tribute to those who contributed so much to the project.