Juice Production Newsletter #6
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I’m Zoë Kissel, the director, editor, and writer of the upcoming short film, Juice.
Juice is a short neo-noir, science fiction film following a young addict’s growing withdrawal and the fatal decision she makes to get high once more. The film takes place in the futuristic world of CityComInfo (CCI). In response to the government-halted heroin epidemic, the black market manufactures a new drug to satisfy the junkies’ enduring hunger to feel that same high. Juice is a drug that hooks people with a single injection. The high itself is much more deadly than the heroin of the past.
For returning readers, thanks for sticking around! Enjoy Juice Production Newsletter #6.
This week’s newsletter is going to be a quick update on our progress in Juice’s post-production and how we stay organized with approximately 15,120 frames of footage to keep track of.
Our primary in-house goal for Juice’s remaining post-production is to complete the audio/soundscape and visual effects. Before beginning the tasks of creating the audio and visual elements, we first made maps of what needed to be accomplished. We broke down the film into shot-by-shot segments and recorded the shots’ SMPTE timecode to allow for easy navigation. SMPTE is the standard for labeling film frames with a timecode, created by the Society of Motion Picture and Television Engineers. SMPTE timecodes are written in the order of hours, minutes, seconds, and frames.
Once the segments were timecoded and labeled, we went through the film one shot at a time. While watching each shot, I wrote down exactly what needed to be created. This works as a type of checklist for me. I can make sure that each shot of Juice is cohesive and complete visually. For example, in the opening shot that we discussed in the last newsletter, I planned for a glitch-in and fire plumes before starting editing. While I map out each shot, I also jot down any visual ideas that come to mind. I always like to try each idea that I think of, even if I am unsure of it. Sometimes they end up working out much better than expected.
To risk losing all of my work, I always save a new file for each effect in each shot. Right now I have about twenty-five separately saved files of Juice. This way, if a file becomes corrupted I only lose a day of work, not six months’ worth. Safety first.
While I prefer handwriting my visual maps in a notebook, Dylan works on his computer. He uses Microsoft OneNote for his organization and planning processes. Dylan says, “OneNote is especially helpful when collaborating with others and needing to have all of my information at a moment’s notice because it syncs across all of my devices. Inside of OneNote I am able to import everything from scripts to hand drawn sketches. When making my sound map and cue sheet it’s helpful to have everything available at my fingertips.”
When I don’t have to focus on audio during editing, I love listening to other films’ soundtracks. Music always adds more inspiration to my edits, both because of the additional emotion and coincidental/magical queues. As Juice’s own soundtrack is still being written, it’s always motivational to hear other people’s music fit with your own work. It’s a bit of a reaffirmation in the post-production stages that things are flowing in the right direction.
What I’ve Been Listening To
Blade Runner Trilogy – Vangelis
OK Computer – Radiohead (not a soundtrack, but works perfectly as one)
The Good, the Bad, and the Ugly – Ennio Morricone
Westworld: Season 1 – Ramin Djawadi
I have also been reading Robert Rodriguez’s Rebel Without A Crew and I highly recommend it. If you’ve enjoyed reading the Juice newsletters so far, you will absolutely love following Rodriguez’s journey with his film, El Mariachi.
Film Patrons Thank You!
I want to give a huge thank you to our film patrons! Thank you so much for your contribution to Juice. With film patrons like you we are able to bring the world of Juice to life. Thank you for continuing to be supportive of and interested in our creative work.
If you are interested in becoming a Juice Film Patron, visit www.thefilmjuice.com/donate for more information.
If you have any questions about Juice or the film’s production, please feel free to send them in an email to email@example.com with the subject “QUESTION SUBMISSION”. Unless requested otherwise, I will answer the questions publicly within the next newsletter.
Until next time,