Issue link: http://digital.copcomm.com/i/1515786
47 W I N T E R Q 4 I S S U E T E C H 2, Part 1 R, and Part 2 R. All the dailies go into one bin. Since the script was written as one script for the two films, the scenes were numbered from 1 to 236. "In that sense, all of the scene numbers were consistent. There isn't 'Part 1 Scene 1' and 'Part 2 Scene 1.' That would have been too much to deal with. As it is, we have to specify if something is in Reel One of Part 2 director's cut, not Part 2 regular cut. There's so much confusion, but it's fun. It keeps us on our toes," Castillón said. To keep it all straight within the AVID timeline, the director's cuts have a video track with title cards to identify any areas of the edit that don't match the PG-13 version. Castillón said: "For Part 1 director's cut, there's an opening set piece that isn't in the PG-13 cut. That's the only section in the film where the reels don't line up exactly. We ended up calling it Reel A1." Dorn likes to start every film by building the entire cut in advance using storyboards and a recording of the script read-through if available. Castillón noted that Snyder tends to draw all the scenes in storyboard order on his iPad. He sends the files to the editorial team, who then breaks them up and drops them into scene order in the AVID timeline. "We had really beautiful, elaborate concept art that evokes the mood and the ultimate look. We'll use that as a temporary back- ground, and we're using those the whole way through to fill in green screen scenes for temp visual effects done in the AVID until shots from visual eects vendors start to come in," said Dorn. Th e p re l i m i n a r y s ce n e l e n g t h s a re determined by the estimated scene timings from the script supervisor. "We put a title above each scene with the scene number, length, the date the scene is supposed to be shot, and notes of whether it's an interior or exterior scene, a night scene or a day scene. Dody has all that information at a glance," Castillón said. Then, as the scenes come in and are edited, "I drop those into the build in the AVID," Dorn said. The reel lengths that Dorn plotted out in her initial storyboard edit of the film turned out to be pretty spot- on. "On 'Rebel Moon,' we only rebalanced once, which I think was pretty impressive under the circumstances. Rebalancing reels can be a nightmare, but Zack is so ecient and amazing at making decisions that the post-process has been fantastic — a real dream." BEING GREEN The story of "Rebel Moon" unfolds in a fictional galaxy in places like the moon of Veldt and the moon of Pollux, the planets Sharaan and Daggus — even in an astral plane accessible only via special techno- logical enhancements. These places (and all the alien creatures/monsters, alt-tech weaponry, and modes of transportation) that once lived in Snyder's mind needed tons of visual eects work to bring them to life. Not surprisingly, many of the scenes were shot on green screen. "I had whole scenes that were just green, without much information as to what they would ultimately be," Dorn said. "I was fly- ing blind at times during production so we had to do our own intel, getting information from the art department to see what the locations would ultimately look like." For example, in "Part One: A Child of Fire," the set of Gondival (an industrial way station floating above a low-orbiting moon) was entirely green. "There are numerous floating docks on Gondival. But on set, there was nothing except wire boxes and stacks of crates, and some light fixtures which were attached to the ground or on poles. These wire boxes and stacks of crates did help create continuity during the edit, but it really took some conversations to map it out and understand the layout of Gondival. For a while, there was nothing. The art department, for their purposes, had a 3D model — an actual, physical model — that Len Ciccotello. Dody Dorn.