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October 2015

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Page 18 of 51 17 POST OCTOBER 2015 The edit was pretty straightforward — we just had to make sure we had all the right equipment — the software to handle the Red footage. They're such huge files — we shot everything in 5K." RENA: "I think it was the time crunch — we conceptualized, shot and edited five films in less than six months. It was a re- ally fast turnaround. Also, because of the budget, we flew our DP with us wherever we went, but we had to hire local crews, so there were challenges. You have to work with people on these really intense shoots you've never worked with before and sometimes you're lucky and some- times you're not. Also, we like to go into the field knowing what we're gonna get, but we're also keenly aware that some of the best stuff we ultimately end up using are these happy accidents. So, when we're in the field, we like to be very aware of the moment that is very unexpected and you have to just roll with them — it takes a certain sensibility. We had to direct the lo- cal crews to be aware of those moments." Nadine, you were doing some of the editing and sharing those responsiblities, correct? NADINE: "Yeah, Rena and I really did the rough cuts of all the films, we got them into, hopefully, pretty solid shape and then we brought on a finishing editor. We worked with Rock, Paper, Scissors in LA for the editing. They were amazing." What are your go-to tools for shooting? RENA: "That was our first time using [the Red camera] and we're pretty much sold. It's either the Red or the Alexa. Red is amazing and the lenses we used were ana- morphic, which gave it that gritty, natural look. Felt so much closer to film than you get with digital cameras normally." What about editing tools? NADINE: "We used Premiere. Looks great. Premiere was easier to work with because we didn't have to transcode the Red files." Can you talk about how important music and sound is to you as filmmakers? RENA: "It's everything. When we were in the field we definitely had our audio guy booming everything to get the natural sounds of the athletes — whether it was them breathing or kicking the ball or on the ice — it just elevates the production value. It just brings you in. The audio, for us, is what makes you feel emotional. We worked with this incredible Scottish composer Paul Leonard-Morgan. We licensed from his in- sanely-large library because we didn't have a huge budget to create from scratch. But each film really had its own sound. We did our audio mix at Lime studios." Do you enjoy the post processs? NADINE: "That's where it all comes together. We did our color correction at Company 3 — they're super talented. That was pretty amazing to be able to work there. They actually did a special screening for us in one of their new the- aters and it was so amazing." Did the documentaries turn out the way you hoped they would? NADINE: "We were thrilled with how they came out and at how well they were received. All the althletes — their reaction was incredible. They loved them. They cried, they laughed. It was amazing." Do you think there are more challenges for women in Hollywood? RENA: "One thing, especially in docu- mentary, is we often get confused for being producers. People see a woman and just automatically assume that you're a producer — I can't even tell you how many times someone would turn to the DP or sound guy assuming they were the director because they were men and I was like, 'No, I'm the director.' We're probably like the .05 percent of women who are directors." NADINE: "Something that's cool about the series and working with all these female athletes is that we can relate to what they did — at such an early age and for their whole careers they had to go against the grain to play the sport they loved because they were in such a male-dominated sport. And they just had an amazing tenacity and discipline and skill that despite those odds, they rose up and we were kind of inspired by that. We're in a male–dominated field, but you can't let that hold you back. I think there's a very empowering take-away message from the films, that you can do whatever you want as a girl." Editor's Note: Just before press time, LA production company Biscuit Filmworks formerly announced the addition of the Mundo Sisters to its roster. Red Epic cameras caught the action on land and sea — footage of (top to bottom) Knighter, Rapinoe, Leroux and Moore was edited in Adobe Premiere Pro.

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