Post-production… a shed load of it

Factory 293 post production

08 Aug Post-production… a shed load of it

Hey folks. I’m happy to report that we’re nearing ‘picture lock’ on the edit of the film. As such, I figured it was time for another update of how things are tracking along and to provide an outline of the remaining post-production phases we’re yet to go through before the film is completed and finds it’s way to you all! Of course, any filmmaker folk reading will know this stuff intimately, so this is mostly for everyone else!

As stated in the previous blog post, we still have a some fiddly VFX related components to film, set to take place sporadically over the remainder of August, after which we’ll finally have the entire film in the can! However, for the last 5 weeks we’ve already been meticulously editing the film (withstanding these few remaining shots) and we’re now tantalisingly close to achieving a ‘picture lock’. For the non-filmmaker folk, ‘picture lock’ is when the edit of a film is approved and locked off on, so that the subsequent post-production work can begin, knowing that the edit isn’t going to change.


Once at that stage, the onslaught of digital visual effects work can really kick off. Saying that, due to the sheer amount of effects in this project, our supremely talented digital-VFX effects supervisor/artist, Andrew Gordon (who is also the project’s Cinematographer), actually began work on a couple shots before we even started filming! This super economic approach has already proven essential, as we currently estimate there to be over 100 VFX shots (of varying extremes) in FACTORY293 – that’s a shed load for a short film! So truth be told, we’ve already been feeding Andrew scenes as they’re edited, so he can finish his job in say… oh, the next decade.


Once Andrew has made a serious dent on the digital-VFX, that’s when our masterful Colourist, Dominic Pierce of Blue Forest Media (Dom), can start correcting the colour/lighting temperature of each shot so it all matches and edits together seamlessly. But more than that, during in this timeframe Dom will craft the film’s signature look. And it’s worth mentioning that Dom, a man of many talents, was also our Data Wrangler during principal photography, and is now the project’s Assistant Editor during post! AND, we shot the entire film on Blue Forest Media’s Red EPIC cinema camera kit (with some added assistance from the legendary Sam Winzar). So if you’re looking to shoot on an EPIC in Perth, with RED specialists at hand to boot, then head to Blue Forest Media, where technical prowess knows no bounds!


So alongside Andrew toiling on digital-VFX and Dominic making the final polishes to the film’s colour grading, our incredible Sound Designer, Josh Hogan (in picture below with Boom Operator Cathii Hoare), will dive into the colossal task of bringing the multifaceted soundscapes and music of FACTORY293 to life. In many respects, this project has been designed to showcase the power of sound design. This is a story with both moments of eerie, isolating silences and intense throngs of hustle and bustle. Sound is 50% of any film, and FACTORY293 is certainly no exception. So like Andrew and Dom, Josh too has his work cut out for him. But there’s no one more up to the task!


Ultimately, the film will take as long as it takes to finish. That’s why we’re all here right? To make a great film. And from day one, FACTORY293 has been intentionally designed as a post-production heavy project in order stretch and build digital capabilities within this crew. So, to give you a seriously rough idea of how long it will take us to smash through this mountain of post-production, here’s a highly tentative breakdown:

- Picture Lock on the edit  – Mid August 2013

- Digital-VFX – present to early December 2013

- Colour Grading – 90% by the end of September, with remaining VFX shots being graded as they come in.

- Sound design, ADR, scoring, mastering – over September to the end of October

Then, taking into account general faffing about and schedule blowouts that plague any production, I’d realistically say the film will be ready for your viewing pleasure sometime late January/early February 2014! But we’ll see how we go. So I apologise in advance, as this is a later delivery date than we’d previously anticipated, but I promise you it will be highly worth the added wait.

Thanks for your continued support Comrades, and please keep tuning in!


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