Mount
INTINERARY
3
- dirección
- montaje
- color
- grafismo
- diseño sonoro
- mezcla y música
When it comes to filming, each reality can be approached from a different strategy. And each film can approach reality in a more or less literal way. The filmmaker’s preparation for the shooting, including planning, staging or possible interviews, may be exhaustive or flexible, calculated or leaving an almost unavoidable margin for improvisation. Thinking about filming from the director’s point of view is not simply an individual exercise, but always involves a continuous conversation with the team, which will turn the film into a collective exercise.
Images and Sounds Revealed: Viewing and Listening to the Material
- How do you prepare for the editing process?
- Do you watch the material, take notes, or are the shots already selected during filming?
- Do you review or write after the screenings?
- How does your vision of the film change?
- Can you share some experiences from your filmmaking practice during this phase of the process?
Rewriting in Editing: Structure, Rhythm, and Cuts
- How do you approach the rewriting process in the editing room?
- Do you start with a written script, edit sequence by sequence, focus first on specific sequences you have in mind, or begin with a general structure?
- How do you interact with the editor-screenwriter?
- What is the process of cutting shot by shot?
- How do you approach rhythm in specific sequences?
- How have your films changed in the editing process?
- Can you provide some examples?
Dialogues Between Image and Sound
- What is the relationship between sound and image in your films?
- Do you first work on image editing, then sound, both at the same time, or sound first and then image?
- In the case of archival footage, what specific sound treatment does it receive?
- How do you work on the color or graphics of your film?
- How do you write voice-over in relation to the other elements?
- How do you approach sound design or ambiance?
- What role does music play in your filmmaking practice?
- How do you articulate silences or pauses?
The Final Cut: Sharing the Film
- How do you know when the final cut is ready?
- Do you share it with trusted people or with part of the team?
- How do you establish dialogue with producers at this stage?
- Can you provide some examples or share experiences from your films?
With post-production, the image montage is amplified at different levels. On the one hand, the second phase of photo design is carried out with color correction and color grading. As an aesthetic element, light and color dialogue to reinforce the intention of the film. In the same line, the graphic elements and the incorporation of visual effects (VFX) must enrich the expressiveness of the work without distorting it.
The Film's Color Design
- At what point do you decide on the film's color treatment—before, during, or after filming? Is it a work in progress?
- How do you communicate with the director/DOP and colorist?
- Can you provide examples of the aesthetic approach to color in your films?
Incorporation of effects (VFX) and graphic elements
- What effects (VFX) have you used in your films?
- How do they fit with the content and aesthetics of the film?
- How do you design your film's graphics—posters, labels, drawings?
- How do you communicate with the graphic designer? Examples of your practices?
Conforming and Mastering: Final Decisions
- What other technical aspects of the film are important to your filmmaking?
- How do the team's workflows affect the creative processes?
As with the image, the second phase of sound design closes with post-production. This design includes the sound ambience, the interpretation of voices, the incorporation of the musical soundtrack or sound effects to enhance the work done in the editing. Finally, the mixes provide the subtlety of the sound planes or layers and the sensory dimension of the film.
Voice Design: Final Writing and Performance
- How do you approach the sound design of the voice-over?
- How do you write it, in the script or in the editing?
- How do you assess its relationship with the image?
- How do you approach the interpretation of the reading, whether with an interpreter, a character, or the filmmaker themselves?
Building the Sound ambience
- How do you approach the creative process of sound design?
- Do you plan it during editing, or do you leave it for post-production?
- What is the process of listening to recorded materials, searching for archival sounds, or using Foley?
- How important is the ambience in your films?
Relationships between Music and Image
- What role does music play in your films? Does it depend on the film, or do you have certain rules or preferences?
- Is the music in your head from the moment you write it, or do you think about it or discover it later?
- If you work with a composer, what is that relationship like? How do you think about the music in relation to the image or editing?
Mixing: Formats, Flows, and Technical Aspects
- How do you creatively assess the mixing process?
- How do your films evolve during the mixing process?
- Do certain elements emphasize meaning, or do you redefine aspects like soundscapes?
- How does the system (stereo, 5.1, etc.) influence this creative process?
