LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Fix it in Pre : Workflow Starts Before the Shooting Does

COW Library : Art of the Edit : Carl Larsen : Fix it in Pre : Workflow Starts Before the Shooting Does
CreativeCOW presents Fix it in Pre : Workflow Starts Before the Shooting Does -- Art of the Edit Feature

Telescope Media Group
St. Cloud Minnesota USA All rights reserved.

The South Dakota Advertising Federation gave us a unique opportunity: producing nearly 2 hours of animations for use throughout this year’s ADDY awards program, our regional portion of the world's largest advertising competition.

Besides the videos setting up each of the award presentations, we also created a short visual effects film for the show open, chronicling a few-second slice of time where two cowboys catch each other cheating while playing poker.

As long as we kept to the evening's western theme, the SDAF gave us complete creative freedom...but due to scheduling conflicts, we had less than a week between principal photography and delivery of the final edit.

Even though it was for a one-time event, seen only by the people at the awards ceremony itself, we wanted to present our best work in a way that also highlighted the best work being done by our colleagues throughout the region.

Click image to see the finished movie.
Note: this is a compressed version. Please see below for clean frames.

Click to play promo for Aharon's CS3 DVD

To complicate things further, the shoot location was five hours away from our facility on the other side of the state. We would not have an opportunity to go back and re-shoot if we overlooked something on location.

Therefore, we did as much preproduction as possible. We had to have a clear understanding of what we needed to shoot, and maximize our limited time with the actors on location.

A static storyboard using rough pencil sketches was a good start, but it didn't give us any information about camera moves, or the timing of our shots. To help with that, we created a motion storyboard, or “animatic.”

It;s a simple process. We placed the storyboard frames on a timeline to work with shot lengths. Then we broke the frames into layers so that we could move them to reflect changing camera positions.

This was especially helpful as it allowed us to play with the timing of the shots, simulate camera moves, and begin working on some of the more complicated visual effects even before principal photography began.

Click image to playAnimatic film


We also did several camera tracking tests and mock shoots in our studio, which proved to be invaluable. Because we planned to shoot everything overcranked at 60fps, it was all the more essential to have a strong understanding of how the edit was going to fit together before the shoot began.


Click image below for full-sizePreproduction test2

Click image below for full size. Levels adjusted for viewing on computer screen.Becoming a Legend - window, final

Thanks to our extensive pre-planning, we knew the length of each shot, the camera’s perspective and movement, and even had a music score in place before we ever rolled camera in Deadwood.



As we went into the project, our goal was to create a realistic effects film with high production value that drew attention to the story, and not the effects themselves.

The production involved 2 days of shooting, 5 actors, 2 locations, 14 visual effects shots, and a very limited budget, using a team of just the 3 of us at Video Vision. We shot on a Panasonic HVX-200 in 720p HD mode at 23.976 fps, using a Cinemek Guerilla-35 depth of field converter and Nikon f1.8 primes.

The "G35" is an HD 35mm adapter still under development as I write this. Its most attractive feature is that it has a static imaging plane and does not require power. As a result, it's a simple, lightweight, and compact unit that is very friendly to off-speed shooting.

Panasonic HVX200 with Cinemek Geurilla DoF adapter and Nikon Prime lenses

Since ours was a beta model, one of the biggest challenges was that it lost a significant amount of light -- I estimate about 4 stops. (The newest production versions are said to lose only 1.4 stops.)

Nevertheless, it afforded us the ability to mount 35mm Nikon lenses on our camera. This provided a beautifully shallow depth of field and extreme focus pulls seen throughout the film.


Click image for full sizeExtreme focus

We also used various camera support systems, including a home-made dolly system, and a 10 foot Advanta-jib with pan and tilt.

Editing was done in Final Cut Pro, visual effects were handled in After Effects, and music was scored in Reason.

Here are a couple of examples of the way we put the pieces together to tell our story.


THE RAIN SHOT; 2:37-2:45
The only shot which we had essentially completed before principal photography turned out to be one of the most impressive. It appears at the middle of the film, just after a muzzle flash leaves the audience wondering which cowboy has just fired his gun.

The camera starts far above a saloon in a heavy rainfall, races to the ground, and goes through the roof to reveal the cowboys holding drawn guns around a poker table. The shot ends with the camera moving from a vertical orientation above the scene to a horizontal perspective of the cowboys.

What sells the shot is the way we were able to combine the CG elements and the live-action footage into one fluid and believable movement.

Everything that appears before the camera finishes moving through the roof of the saloon, was created entirely in After Effects using a combination of 2D and 3D compositions.

Once the virtual camera moves through the roof, we switch to a 100% live-action shot of the cowboys captured in camera on the HVX with the Advanta-jib.

The CG components of the shot were approached in two parts, with separate After Effects comps and cameras that were later meshed into one single move. The camera goes from high above the desert to the roof of the saloon in the first segment, then through the various layers of the roof to reveal the cowboys within the building in the second.

We began by creating a 2D terrain map for the environment using Google Earth images.

Google Earth 1

These were then parented together and scaled exponentially to simulate the effect of a camera rushing toward the ground.

We also wanted to give the impression that there was a downpour of rain interacting with the camera as it flew into the roof of the saloon. For this, we created a rain system with Trapcode Particular using custom particles. This allowed us to have the raindrops fall past the camera while the background was scaling slowly, but then to speed past them before reaching the roof of the building.

Additional clouds were added to make the shot feel more organic. Finally, a number of adjustment layers and selective grading masks were applied to the composition to perform a day-for-night conversion and to add additional depth of field rendering to the scene.

Click image for full sizeGoogle Earth composited with After Effects and Trapcode Particular

In the second CG segment of the rain shot, we made a 3D multi-plane composition to simulate the movement of the camera through the various layers of the roof.

Roof Composite 1

A series of high-resolution images was attached to the roof to preserve detail. Once the camera passed through the outer layer of the roof, a number of photographed wood particles were arranged in 3D space to give a more realistic impression of depth as the camera continued passing through the roof.

Roof Composite 2

Roof Composite 3

Roof Composite 4

Roof Composite 5

As a final step, the live action plate of the gunfighters was brought into the scene as a 2D element, then scaled and time remapped to match the movement of AE’s virtual camera and the live-action footage.

A combination of Particular and AE’s lens blur were used to create the faint raindrops that remain on the lens of the camera which appear on the live-action photography of the gunfighters. In the screencap below, you can best see the raindrops over the gunfighter on the left.


THE WINDOW SHOT; 3:03-3:20
Whenever possible, we made a conscious decision to integrate live-action elements into the composites to deliver a more nuanced and convincing end result. The “window shot” proved to be a great application of this technique.

In this shot, the camera pulls back from the gunfighters in the saloon, moves through a window, and dollies back roughly forty feet to reveal the sheriff pointing his rifle at the dueling cowboys. (In section 1 of this article, you can see the storyboard, the location shoot, and composited final version of this shot.)

Instead of taking a series of still images and pulling a virtual camera through the scene, we recorded two live action shots where we physically moved the camera and combined them into one seamless motion.

Final Composite, 1

Below, note muzzle flash reflected on chest

Final Composite 2: note muzzle flash reflected on chest

Final Composite, 3

In the end, this shot required significant stabilization, tracking, roto, rig removal, and time remapping to get everything to match together. However, working this way gave a more realistic sense of perspective as the camera moved through the scene. There was no other way to achieve the realism required for this shot using still photography and a virtual camera alone.

2 live shots composited for a seamless push

To finish the shot, we added CG fog, rain, and breath, as well as CG lights and a day-for-night color conversion.


Beyond the visual effects, sound design played a critical role in adding production value to the film.

The music was composed BEFORE the rough edit of the animatic was completed. This way, the music set up the pacing of the shots, and contributed more significantly to the overall mood of the piece. Once the animatic was replaced with the footage from the shoot, the music was recomposed to accommodate for small shifts in the timing of the edit.

Since all the footage we shot had no associated sound, dozens of effects were added in Final Cut Pro to highlight each subtle movement within the piece. When everything was finally synchronized in the edit, there were over twenty tracks of audio dedicated to sound effects alone.

Click image for full size
Final Cut Pro audio

At one point, we could not find an appropriate sound effect for the cocking of the cowboy’s revolver. So, we decided to try recording something ourselves in the studio. I would normally not recommend bringing a couple of handguns to work, but in this particular situation it was something fun we could do to raise the production value of the film.

Don't bring guns to work

The final sound used in the edit was a combination of a .38 Magnum and a .22 revolver cocking simultaneously. A small amount of reverb was applied to the recording to make it mesh more realistically with the action of the footage.



With less than a week of post production, we were very pleased with the results of the film.

As with any project there were some small surprises along the way, but our emphasis on pre-production helped us determine the difficulties we would face early in the planning process. Had we taken the all-too-common approach of shooting first, then attempting to “fix it in post” later, the project would have failed.

Start to finish, it was a reminder for us that complex visual effects are amazing, but it is critical that they are used in a way that enhances your story, not just for the sake of using the latest plug-in.

Careful attention to production details also means that you don't have to be a big company to do exceptional work. In the end your clients will thank you, and so will your audience.

Workflow 3.0

Also in Creative Cow Magazine's
"Workflow 3.0" issue:

  • South Park: TV's Longest Week
  • The Future of On-Set Metadata
  • 3 Network Shows, 1 Team, Every Week.
  • Cows Around the World
  • And much more!

Download your complimentary PDF!


Fix it in Pre : Workflow Starts Before the Shooting Does - An additional link
by Jonathan Lacocque
Here's a blog post about the "post-production roadmap" when it comes to motion design.

A nice link to send to clients, or prospective clients, to ensure they understand the post-production process. Especially when it comes to motion design & graphics:
Fix it in Pre : Workflow Starts Before the Shooting Does
by Scott Gara
Awesome article, very nice work, pre-production is often overlooked and it is just as important as any other aspect of the finished product.
Fix it in Pre! Workflow Starts Before the Shooting Does
by Ri Stewart
Wow! What an inspiring case study!
Fix it in Pre! Workflow Starts Before the Shooting Does
by Carl Larsen
Actually - only two folks on location. I was there for planning and post. One more reason to plan everything out before the shoot.
Fix it in Pre! Workflow Starts Before the Shooting Does
by Todd Jaquith
That was fantastic, esp given it was all done in a week and with three folks on location. Damn. I can see how with all that work done in the pre, just how well the camera moves alone really allowed those great f/x shots to be a part of the story rather than just pomp and circumstance. Nice one, brudda.
Fix it in Pre! Workflow Starts Before the Shooting Does
by Carl Larsen
I just want to state publicly how proud I am of the team at Vision Video Inc. and the work that is done there.

This project would have never happened without the creativity, sweat, and effort of Cody Redmer and Dan Bruns. Although I had the privilege of overseeing the project, they were and are the "Legends" behind "Becoming A Legend."

If you want to see more of this team's exceptional work, please visit

Related Articles / Tutorials:
Art of the Edit
Editing Eye of the Beholder: The Art of Dungeons & Dragons

Editing Eye of the Beholder: The Art of Dungeons & Dragons

Kelley Slagle began her career in entertainment as an actor, so it’s not surprising the communal storytelling of Dungeons and Dragons caught her eye. She both edited and co-directed the prizewinning documentary "The Eye of the Beholder: The Art of Dungeons & Dragons", speaking to overe 40 artists across the 45-year span of the game's history. Creative COW Managing Editor Kylee Peña spoke to Kelley about the challenge of managing that much material into a 90-minute film, balancing indie filmmaking with the demands of a day job in video production, and the power of art to sustain a community.

Feature, People / Interview
Kylee Peña
Art of the Edit
Editing The Emmy Award-Winning Phenomenon, Wild Wild Country

Editing The Emmy Award-Winning Phenomenon, Wild Wild Country

Wild Wild Country premiered at the 2018 Sundance Film Festival to great acclaim, and when it hit Netflix a few months later, it quickly became a phenomenon, going on to win the Emmy for Outstanding Documentary of Nonfiction Series and netting editor Neil Meiklejohn an Emmy nomination for Outstanding Picture Editing for Nonfiction Programming. Creative COW's Matt Latham spoke with Neil about managing a project of this scope, treating the eight parts as a single film rather than episodes, his use of Adobe Premiere Pro, workflows with visual effects and music, and much more, including career advice for aspiring editors.

Feature, People / Interview
Matt Latham
Art of the Edit
What It Takes to Edit Big TV Shows: This Guy Edits

What It Takes to Edit Big TV Shows: This Guy Edits

Sven Pape of "This Guy Edits" joins TV editor Josh Beal (House of Cards, Bloodline) for a close-up look at editing Season 2 of Counterpart, the Starz series starring JK Simmons in a dual role -- which is only the start of the challenges presented by this high-energy sci-fi thriller. Josh dives deep into storytelling techniques, workflow, teamwork, organization, and even offers some insights for people wondering how to get started as TV editors themselves.

Sven Pape
Art of the Edit
Writer-Director Vidhya Iyer: Parents, Children, & Brown Love

Writer-Director Vidhya Iyer: Parents, Children, & Brown Love

Writer-director Vidhya Iyer is an Indian-Nigerian-American filmmaker, improv comic, AFI graduate, and CAPE (Coalition of Asian Pacifics in Entertainment) New Writers Fellow. Work on award-winning shorts has led to a comedy pilot called "PG 30" about authenticity, adult children learning to become honest with their parents, and the unique "brown love" between immigrant parents and their children. Creative COW Contributing Editor Clarence Deng explores all this and more, including the empowering community that grows up among filmmakers who are helping each other tell their truest stories.

Feature, People / Interview
Clarence Deng
Art of the Edit
The Top 5 Most Common Problems with Student Films

The Top 5 Most Common Problems with Student Films

What are the biggest mistakes of most student films? This "Science of Editing" episode may just have the answer. Join "This Guy Edits" Sven Pape and Macquarie University lecturer Dr. Karen Pearlman, author of "Cutting Rhythms: Intuitive Film Editing" and former President of the Australian Screen Editors Guild for a look at specific things to avoid to make your films your best.

Sven Pape
Art of the Edit
Editing Marvel's Black Panther: Debbie Berman ACE

Editing Marvel's Black Panther: Debbie Berman ACE

This is an epic tale spanning two decades, three countries, 12,000 miles -- and that's just the story of Debbie Berman, ACE, starting in reality TV and indie film in South Africa, making her way to Canada and then the US to edit Marvel's Spider-man: Homecoming and, most recently, Black Panther, already one of the most popular films of all time. In this exclusive interview with Creative COW Managing Editor Kylee Peña, Debbie talks about struggling toward US citizenship, a serendipitous meeting with an ambitious young director, helping to bring representation to the big screen and pride to her home country.

People / Interview
Kylee Peña
Art of the Edit
What Picasso Can Teach Us About Filmmaking

What Picasso Can Teach Us About Filmmaking

Feature film editor Sven Pape takes a unique, entertaining look at Pablo Picasso's approach to art, and offers specific examples from a variety of movies, as well as Picasso's own advice. As Sven puts it, success requires action. Make a film. Fail. Then fail harder. Of course, Picasso and Sven have great advice for succeeding too! You'll get a kick out of this one.

Tutorial, Feature
Sven Pape
Art of the Edit
Searching: Creating Cinematic Drama From Small Screen Trauma

Searching: Creating Cinematic Drama From Small Screen Trauma

The thriller "Searching" takes place on computer screens, but no screen captures were made. Instead, the team built the individual elements in Adobe Illustrator, animated in Adobe After Effects, and edited those elements together with live action footage in Adobe Premiere Pro. Creative COW Managing Editor Kylee Peña spoke to editors Nick Johnson and Will Merrick about the extraordinary lengths they went to to create this exceptionally compelling big screen drama from the family crisis being played out on small screens before us.

Kylee Peña
Art of the Edit
Cate Haight ACE on Editing The Sundance Hit Indie, Puzzle

Cate Haight ACE on Editing The Sundance Hit Indie, Puzzle

Cate Haight, ACE, has edited some of the most memorable films and television shows in the last few years. Her latest indie feature Puzzle -- which tells the story of a suburban mom who discovers a passion for competitive jigsaw puzzling -- debuted at Sundance Film Festival this year. Creative COW Contributing Editor Alee Caldwell sat down with Cate to talk about going to the fest, advocating for change, and putting together the pieces of Puzzle.

People / Interview
Alee Caldwell
Art of the Edit
Always Be Editing: Sculptors & Bricklayers Revisited

Always Be Editing: Sculptors & Bricklayers Revisited

Do you edit like a sculptor, or like a bricklayer? It seems a simple enough question, but as longtime editor, post house owner, and VFX software developer Simon Ubsdell shows, the implications for how this affects the way you edit can be profound. His advice, regardless of where you land on the spectrum? Always be editing.

Simon Ubsdell
© 2019 All Rights Reserved