Situation:

Filming took place in New York City over the course of eight days and included night shoots, helicopters, sixteen wheelers, cranes, giant squirrels on bakery trucks, giant VFX floats, intimate bedroom scenes with child non actors, a handicapped dachshund, and magic.

Brief:

There was no specific brief for the edit, but the editor was tasked with bringing these magical moments to life, while bringing his own perspective to the footage.

Objectives:

The editor sought to find as much nuance, feeling, and connection in the performances as possible, working with two non-actors and many green screen elements. Both the editor and director wanted the film to work as well as possible before the VFX was in place, which required detailed offline guidance and many long hours of both editorial and VFX previsual creation

The editor spent a lot of time working on the connection between Solo and his brother Henry and crafting surprising moments, working closely with the VFX house to maximise the amount of footage we could bring to life. We had to adjust the way we cut to get shots we knew needed VFX work to our partners, so there was a lot of what you could call “cart before the horse” editing. It presented challenges because it compressed the amount of time we had to craft the story and it also required a lot of previsualisation on our end to provide guidance - nothing long hours and good teamwork couldn’t solve.