Issue link: https://digital.copcomm.com/i/1515786
48 C I N E M O N T A G E T E C H we brought down to the editing room. It answered so many of our questions," said Dorn. "As the editor, you might hesitate to tap people on the shoulder (the production people who are trying to get the film 'in the can,' so to speak) because they're so busy!" she added. "But at a certain point, you need time with them to get that information. A little ways into production, I had a meeting in my editing room with the production designer; he explained the layouts for the green screen sets. After that, more mate- rial — concept drawings and set layouts — started to flow into the editing room." When a movie that's supposed to take place on different planets and different spaceships is shot on green screen, it can be hard to tell where a scene is taking place, where the characters are in relation to objects in the scene (like ships and floating docks), where the characters are looking, and what they're looking at. Visual eects assistant editor Skylar Zhang, who handled the temp visual effects during production and through the start of post, explained, "They had limited space on the soundstage, so they cheated things during the shoot. For instance, in the Gondival scene, they had two docks built and were reusing them. So, they'd shoot one side and then go to the oth- er side and reuse that as a dierent space. That made it confusing for us to know if we were on Dock One or Dock Two, or Three or Four. Temping in the concept art and replacing as much green as possible helped everyone have a clearer idea of what was happening. Dody was very adamant about taking out as much green as possible." Second assistant editor Shay Yang (who helped with temp visual effects, cut temp music, and cleaned up dialogue tracks for internal screenings) used storyboards and stunt viz to temp comp the dailies so they'd have background elements, buildings, and monsters/creatures for the assembly in- stead of just green screen. "I did everything in the AVID, using tools like 3D Warp, Paint, and SpectraMatte. We'd combine the actors from the dailies with the storyboards, and then Len [Ciccotello, second assistant edi- tor] would cut in sounds to help everything feel real and to sell what's happening in the scene," said Yang. FLASHES AND SPLATTERS There's also a shootout on Gondival. Ac- cording to Dorn, "The special eects team Sofia Boutella as Kora on the set of 'Rebel Moon.' P H OT O : N E T F L I X Shay Yang.