Thinking the editing on paper
Thinking the editing on paper
Some weeks into the editing, Jonás Trueba and Marta Velasco, with whom he’s edited all of his films, printed captions of the shots to be laid out on cardboard.
This “editing on paper” allows them to have a global view of the entire edition and appraise the structure, the way adjoining sequences relate as well as the relationship between sequences from afar.
While editing is lineal and subject to the timing of the film, an edition on paper allows to get other perspectives (of the whole and the detail).
Editing on paper the third part of the film
Young Manuela and Olmo and final coming back to Olmo’s present. An ongoing editing process, not corresponding to the final version.
While the first and second part clearly go along with the characters during a winter night and morning, the third part, in summer, is somewhat more abstract and free in terms of its time structure and, therefore, particularly open-ended in terms of its editing.
Visual (and emotional) relationship between shots regarding the two times concerned in the film: summer for the youth and winter for the older.
Conceiving a sequence: night time writing Manuela’s letter preceded by shots of blue trees and light blasts.
Image and sound editing
La reconquista was edited along five months working on the image, some days longer than others, taking breaks that provided a respite and also, acquire distance and perspective. In the early stages attention is also paid to the sound related only to shoot recordings and to some voice off outline attempts.
In the sound editing and mixing when they will determine and provide further scope regarding the actual definition of the film sound, adding all types of new sound recordings, atmosphere, foleys and textures. In charge of this is Eduardo Castro, who’s also participated in all of Jonás Trueba’s films. In this postproduction phase Marta Velasco is also present, and image editing changes may be done if the bulk of the sound motivates it.
