During 2021, I worked as the Vision Editor on the documentary short Brotherboy. The film focuses on Taz, an Indigenous transgender man, and where he and Australia are today. Production took place under the umbrella of Situated Creative Practice, a QUT program where artists in various fields come together and collaborate to create artistic works. I worked as part of a large crew, particularly the director and on set crew.
Vision Editor Responsibilities
My role as Vision Editor entailed taking the footage from the on set crew and taking it through the edit pipeline to a version of the film that could be handed off to post sound, colour grade, and visual effects. This involved first organising the footage, creating proxy video clips that would make the large file sizes easier to render on the computer, selecting the best takes, then adapting the script into matching visuals. I collaborated with the director and producers to best utilise what we had filmed, and during secondary shoot I developed a shotlist for the on-set crew.
Editing with Adaptability
During the edit, there was another few days of shooting and also a major script rewrite. Each time, the edit needed to be quickly adapted and previous selects and sequences I had made moved to suit the changing needs of the film. I was able to do this by having a deep understanding of the footage we had and what could be done with it, as well as being able to quickly consider what needed to be changed.
Post-production involved working closely with the director and producers, particularly after the rewrite. This was an opportunity for collaboration that I loved – being able to bounce ideas off of a group of people, and hear the ideas and developments made by the other highly creative people I was working with was incredible. Working in that collaborative environment is something I try to incorporate into my creative practice.
Given the rewrite, an intensive few weeks of re-editing was needed, and after discussion with producers I wrote up a schedule to ensure that neither myself nor the other post-production crew members got burnt out. Even though longer days were needed, we were able to pull through and avoid overworking or becomng overwhelmed with what needed to be done.