2. Rough Composite
• Adobe’s Premiere Pro was chosen as the editing
software for this
fi
lm. This was dut to its high variety,
compatibility with HDR video, as well as as e
ffi
cient
work
fl
ow and layout, supported by other software
under the Adobe Creative Cloud such as After E
ff
ects,
Photoshop, and Illustrator, which were used for the
graphics, text, and other design elements.
• First, footage was taken and labelled by date, scene
and take number, along with its audio. Each
fi
le’s
presence was checked multiple times to ensure no
fi
le
loss. Then, in the main project, sequences were made
and footage was split up into bite-sized sections. Here,
it was put into order and paired with audio recordings.
The dialogue was treated with the DeNoise e
ff
ect, and
was stabilized to 7 decibels, when it was linked to the
video. Then all excess footage was removed, leaving
only good takes in, at which point they were chosen.
3. Narration
• In separate sequences, Katarina’s
narration was paired with music to
fi
nd
the best
fi
t. Her voice was then treated
with studio reverb, the denoise e
ff
ect, as
well as transitions and additional vocal
enhancement if needed. A good take
was found for each line, and some lines
were altered in speed, pitch, or volume
to achieve the desired tone.
• In
fi
ne-tuning, the voice was matched to
the music and pauses and the overall
timing of the speech was
fi
xed.
4. Rain Composite
• Masking was done where needed
and VFX rain assets were
composited into the image. A lot of
fi
ne-tuning was done to try and make
it look realistic as the actors on set
were not wet.
• Other VFX elements such as cold
breath and thunder in the sky were
also digitally added in to complete
the desired e
ff
ect.
5. The color grade
• The color grading was an intricate process that involved
trying to get rich colors by dropping midtones and
saturation, along with matching skin tones through curve
grids and features like luma key, hue vs hue, and sat vs sat.
• Some scenes had to be severely darkened, dropping a lot
of exposure to achieve the thriller look. This was done by
individually comparing my colors with those of my palette
from other thrillers and seeing what could work to create a
sharper ciaro-scuro e
ff
ect (in the case of the interview
scenes), or an improved backlight (bar, parking lot).
6. Final Timeline
• Finally, as each sequence was
being
fi
nished, it was moved into
a
fi
nal timeline where it would be
compared to the rest of the
fi
lm
and altered in terms of color
matching, audio levels, music,
transitions, etc.
• A lot of
fi
ne-tuning was done in
this timeline to achieve a
polished
fi
nal product.
7. Creating suspense in the interview
• L and J cuts were used to vary timing between the actors’ lines, building or taking
down suspense. The shots would also get increasingly closer to the subject’s face as
tension rose, and the camera’s swift movement did not give the viewer any rest.
• An unusual ambient noise was put in as it in itself sounded very unnerving, tapping
into the audience’s subconscious.
• The colors were dark and the lighting contrast was made to look sharp to again
con
fi
rm the confrontation that Karl is experiencing.
• Classical-sounding thriller music was included that complimented the dialogue.
• The CCTV shots were made to present the situation that Karl is in as seriously
observed, and the extreme wide shot shows his helplessness and isolation.
8. BTS
• For the behind-the-scenes content for the
fi
lm’s instagram page, interviews ere done
and their editing began. This was a provcess
that also included separate audio tracks and
intricate color tgrading to match the theme
of the
fi
lm.
• From these audio bited, combined with
some video documentation from set, I
managed to paint a vague picture of what a
day on set was like. The editing was fast-
paced and captured the audience’s attention
with constant text and scene changes.
