Editing Lucid was a real challange. Our setbacks with shooting resulted in footage looked rushed due to a lack of planning beforehand. I don’t think I’ve ever had to work so hard with an edit.
The majority of the shots were lit poorly and were rarely consitant throughout. This limited my options to what I could do structurally, and when working with Jess on the sound. For example, we were discussing how he wanted to have a motif running throughout the Renley/Tobias dialogue scene, a sound to signify the building of tension within Renley. During the scene Renley turns away from Tobias and cleans his glasses, so I suggested using that. However when I checked the footage they’d shot, all of the C/S’s of the glasses beeing cleaned were too dark to use.
This inhibited what we could do with the scene, as we needed that C/S to establish what the noise was.
A lot of the shots we’re lit as if to spot light the character, making the shot look staged when it should have been natural.
This shot of Renley is clearly lit by a dedo from the actors right, so I had to use Apple Color’s secondaries tools to lighten the left side of his face, and make it more even:
Also, because he’s only been lit from the front with one dedo kit, it meant the background was dark, whereas in some shots its brightly light. So I had to mask the background as well to brighten it up.
They shot three takes of the C/S of Tobias telling Renley that he needed to talk to him, the last one of which contained by far the best perfroamcne. However, a boom shadow appears on the side of his forehead halway through the take:
Because the shadow was there it effectively rendered the shot unsuable, but I had to leave it in because of the strength of Jonah’s performance. Although I believe that his performance will distract/engage people enough not to notice the shadow, the shadow itself shouldn’t have been there in the first place.