Issue link: https://digital.copcomm.com/i/799350
www.postmagazine.com 18 POST MARCH 2017 respect each other. It's very collaborative. And then they go off and I'm gone. (laughs)." Overall thoughts about final product? "I watched it at Company 3 and it was unbeliev- able how beautiful it looks. I'm not even saying my work, but the combination of the produc- tion design, the costumes, the makeup and the craftsmanship that went into this movie. It all came together. When I saw the final film, I was just blown away with how beautiful it is. And the one thing for me, when I came on and saw the illustrations that Sarah Greenwood and Bill had created, I thought they were so beautiful I just wanted to light it the same way. I feel my biggest accomplishment when I look at the illustrations and I look at the movie, they look the same. "Beauty and the Beast was definitely my most enjoyable movie so far because of the content, the music and the amazing crew in Europe. The trailer is great, but the movie is so much better … (laughs)." TAKE THREE: EDITOR VIRGINIA (GINNY) KATZ, ACE Katz was nominated for an America Cinema Editors Eddie Award for Kinsey and won an Eddie Award for her work on Dreamgirls. When did you get involved in the film? "[Tobias] started in February and I came in in April, about six weeks before they started shooting, because to look at previs and what they had for the previs so I could put my two cents in terms of whether I thought a close up should be inserted somewhere, or if something was missing. I felt if we could add to the previs and then we started shoot- ing. It's been a fantastic process, great fun, but it's been long." How do you describe the editing style? "When you ask about editing style, for me, my style is always dictated by the film that I get. So, for instance, the opening of the movie has this beauti- ful ballroom scene and all the women are in these gorgeous white dresses, so it's this very fluid, beau- tiful waltz. I felt that fluidity and I cut it in that way. Then, when you have a dance scene with Gaston, and that's a totally different taste, because it's more raucous, it's in a tavern, it's taste differently because it calls for that…it calls for a more robust kind of editing and although it's a dance number and a song, it's a different pace than the ballroom scene. So I let the film, whatever it may be, whether it's an action scene or a father/daughter talking, dictate to me what the rhythm is and then I go with it for that scene. It's always about telling the story and getting the emotion out of it and usually the film to me dic- tates that. When I look at dailies, I understand the scene and feel what it's looking for." What was the format that the footage was in when it came to you? Did you ingest it and convert it into something else to work on? "Company 3 converted the footage for us from the ARRI raw, which is what Tobias shot, to DNx115. I get the bins and it's ready for me to cut." What do you cut on? "Avid. Love that Avid [Version 7]. I worked with Bill for a long time, and we had worked on film and I was one of those people who didn't really want to move from film to say, the Avid, because I always loved the texture and that kind of feel of film, but once I made the move I could never think of moving back. I realized the great creativity it allows. It's just made everybody's lives easier." How different was this film for you from other films you worked on? "It had many more visual effects — I haven't worked on a movie with this many visual effects, even though we worked on Twilight, which was quite different. This really was a different animal. There was previs for the scenes that were mainly CG, like "Be Our Guest," but there were scenes like the wolf chase, and it was prevised, but then when the film comes in, it's not always the same as the way the previs was. For instance, in the wolf chase, if I say I want a close up of a wolf, which we didn't have with the previs, because it's CG I can build a close up from somewhere and eventually visual effects can work it in where I put it. It kind of allowed me to create new footage when I needed to, because of the visual effects. So, when I'm sitting with Bill and we're going through footage or when I'm cutting it on my own and I'm thinking, 'What we really need is a close up of Lumière here,' and they might not have shot the prop close up, all I have to do is take any shot of Lumière, do a close up and eventually it becomes part of the scene. The special visual ef- fects team will allow it to come alive in that particu- lar moment. It really gave us great freedom." They were still working on the visual effects when you were editing? "Yes, because I start when they start basically, and I came early to look at the previs, so the only thing I really had when I was cutting was the previs. And Katz cut the film on Avid Version 7.