The Godzilla '98 Production Reports

I don't really have anything fresh to say about Godzilla (1998), the TriStar anomaly celebrating its 20th birthday today. As a Godzilla movie, I think it's the worst in the series; as a monster movie, it's still pretty bad. What I do have is a promotional CD for Godzilla: Online, released as a collaboration between EON Magazine and Taco Bell. The game demo is inaccessible, but there's more to see on this ancient disc.

For me, the highlight is eight "G-Mails" -- newsletters about the production of the film that you could subscribe to through the film's official website. Since they didn't seem to be anywhere online, I took the liberty of retyping them for your entertainment, with a huge assist from an OCR program. They're very conversational, very cheesy, and very in-depth about what goes into movie-making while concealing this particular movie's plot. It seems that the emails continued after this CD was released; if you somehow held onto those, let me know.

Godzilla Production Report #1 by Will Plyler

From New York to Los Angeles, Los Angeles to Oahu the “Godzilla” film crew has filmed for 80 days now. Our shooting crew of over 200 men and women has faced rain, mini twisters, exploding manhole covers, rats, cockroaches, sunburn, and lots and lots of fish all to bring you the latest incarnation of Godzilla. And now you can be a part of this ongoing adventure…

Each day during filming, a breakdown of the previous day’s work, or progress report if you like, was distributed. The production report is a record of the amount of time spent filming the previous day, the actors and crew members that worked, the number of feet of filmed exposed along with other pertinent data, and most importantly of course… what time lunch was “called”! So for the next nine months I’m going to provide similar information to you the Godzilla fan. I’ll tell you what we’ve been filming each week, how the special effects and editing are coming along, who the different people are working on the film, and heck, I’ll even tell you about my lunches (the key to making it in this town). I’ll take you behind the scenes to learn about the editing, computer generated imaging, sound mixing, music scoring, and a whole lot more.

Of course the first question you may be asking yourself, and if you’re not you should be, is “Who is Will and what the heck does he know?” Well, if I may talk about “me” for a moment (a favorite Hollywood topic) I’ll let you know what I do on the film. Drum roll please… I am “The Assistant to the Executive Producer” of the film. Pretty impressive title, huh? But what does all of this really mean? My boss is responsible for not only overseeing the budget and schedule of the film but the entire shooting crew including our special effects group. My job is to make sure his coffee mug is filled each day, the pencils are sharpened, the seat cushion is fluffed, and the air conditioning temperature is set to a perfect 73.52 degrees. All right I’m just kidding… he doesn’t drink coffee. No, in reality it’s my job to help him keep up with all that, so that means there’s very little that goes on with the film that I don’t know about - which is good news for you.

Since this is my first report I should probably catch you up on what’s been happening so far. As you probably know by now, the movie was written by Dean Devlin and Roland Emmerich. Roland is directing and Dean is producing. We started filming in New York… Manhattan to be exact, on May 3rd 1997. The film has an all star cast including (but not limited to) Matthew Broderick, Jean Reno, Maria Pitillo, Hank Azaria, Kevin Dunn, Arabella Field, Michael Lerner, Phillippe Bergeron, Vicki Lewis, Doug Savant, Harry Shearer, and Malcolm Danare. Shooting took place from Saturday through Wednesday. This allowed us to have at least two “weekend” days in our shoot so that we could receive permission to film at sites unavailable during the week, like Wall Street and the South Street Seaport. All of our exterior shoots involved rain. And for your information, rain equals pain. A pain in the butt… a pain in the neck… and a pain on the dry cleaning bill. When we wet an area down we really wet it down. Our mechanical effects crew used huge cranes to raise special water pipes over the sets. They would then pump hundreds of gallons of water onto the set to create rain… even if it was already raining! Filming went very well and New York looked great.

We returned to Los Angeles on May 26th. Shooting continued bright and early at 7:30 am on the 27th at the Sony Studios in Culver City. Most of our filming took place on Stage 15. There were as many as eight sets at a time on that stage. From a New Jersey apartment to a New York roof top to the bridge of a giant ship we covered the stage floor from wall to wall. Additional sets were constructed on Stages 27, 29, and 30 - each with one gigantic set. Some of our sets were over five stories high. Not only did we film on the Sony Lot, but we also spent a few weeks in downtown Los Angeles, using locations to double for New York City. With some simple redressing (changing advertisements, covering streets signs, and a dozen or so yellow cabs) we were able to create very convincing New York streets right in the heart of Los Angeles. Since downtown LA is much less congested at night than New York, it was easier to film our more complicated and exciting chase sequences through the streets here.

In addition to our main unit filming, we had a second unit filming extra footage to enhance battle scenes as well as provide many of the spectacular shots you will see that are too time consuming for our first unit to film. When all is “shot” and done, we will have filmed over 400,000 feet of film, and that’s not including all film for the special effect shots. I’ll tell you more about our 2nd Unit in later issues.

So there’s your first taste of “Godzilla”. I hope you, the reader, will take time to write me about questions you have about the making of the movie. I will tell you everything I can, but some things are secret till next Memorial Day when Godzilla hits the silver screen. Next week, I’ll cover our filming in Hawaii and maybe even throw in a few tanning tips...

Production Report #2

Once we finished filming in Los Angeles (mid August), we jetted to the fabulous and exotic island of Oahu -- that’s in Hawaii for those of you are geographically challenged. Based at the ever-lovely Hilton Turtle Bay (I’m hoping for free room), we would venture out each morning before sunrise to start our production day. We filmed along the North and North Eastern Shore of the island. Our locations included Kualoa Ranch, Kahuku Beach, Kaawa Valley, and Kualoa Beach Park. Yes, that’s a lotta K’s, but then practically everything named in Hawaii starts with a K or a W, which makes getting lost really easy. Part of the crew flew in from Los Angeles, but the rest were Hawaiian. Though our locations were beautiful, we did go through an ocean of suntan lotion and fresh water as we fought the heat and humidity.

The shoot went very well and we got some terrific footage for scenes of Matthew Broderick, Jean Reno, Vicki Lewis, Kevin Dunn, and Malcolm Danare working on beaches and in a remote island village as they look for clues to Godzilla’s mysterious appearance. With the aid of special military forces, Matthew’s character searches through the wake of Godzilla’s destructive path in an effort to better understand the beast’s biological origins. He arrives in the sequence in a wonderful old seaplane (look for “G” peg) and is whisked away in secrecy by the US Military. Of course you’ll have to wait till the movie comes out to see the awe-inspiring sights they show him.

Since I keep mentioning what we’ve been filming, I felt I should tell you what a typical day is like. Each shooting day we receive a “call sheet.” It contains all the pertinent information we will need for that day’s work - this is generated by the Assistant Directors. Along the top is the CREW CALL time. That’s when you have to be on the set to prepare for filming. Typically, we have to be there (stage on location) around 7 am in the morning - yes, there’s a lotta coffee drinking going on - in my case Diet Pepsi (another personal plug). Underneath that is the SHOOTING CALL. That’s the time when we anticipate getting our first shot off by. Generally that’s an hour and half to two hours after the crew call (of course actual times may vary). This allows for the time required to set up the camera, position lights, rehearse the scene with the actors, but more importantly get some breakfast! Catering is the key to keeping the crew happy.

All right… (munch, munch) enough about food… and back to the call sheet. In the middle is a list of the scenes to be shot that day. Listed are the scene numbers, a simple one line description of the scene(s) to be shot, the cast members required and the length of the scene(s) which are listed by page length. Say, ⅛ a page or ⅜ page, even up to and beyond three pages. We then have a total count for the number of pages to be shot that day. Usually that’s no more than two or three pages though. Below the scenes list is a list of the cast members working that day. They are listed by name, character name, and the time required for them to be in make-up and hair so they can be prepared for shooting (filming that is). So for example, Matthew Broderick would be listed in the cast column, next to his character name “Nick Tatopoulos.” His status for the day would be “W,” which stands for work. Then he would have leave call of 5:50am. A make-up call for 6:30am. And a set call of 8 am. Pretty glamorous huh?

Then, below all this is listed any special equipment or mechanical effects required for the scenes, and all of vehicles that are to be in the scene(s). On the back of the call sheet is a list of every crew member working that day, their crew position, and the exact time they are required to be there -- another reminder of when to show up!!! Now this completed our principle photography and thus main unit filming.

Once we finished in Oahu, we headed back to Los Angeles to… film even more. Next week, I’ll make you all experts on the wonderful world of rear screen projection. Till then… aloha and mahalo - (that’s Hawaiian talk for good-bye and thank you).

Production Report #3

Rear Screen Projection and Green Screen were the words of the week. “RP,” as it’s called if you’re in the know, is exactly what it sounds like. Since there are times when it is easier, and more importantly safer, to film actors riding in a car, boat, or plane on stage, it is necessary of course to have images of streets, etc. showing outside the windows on a screen behind the vehicle to “sell.” This gives the illusion of movement when they are actually just “parked” on a sound stage. We use this process for sequences in which our heroes race through the streets of New York, in a car, trying to save the city from Godzilla.

The procedure was fairly simple. We placed a real car on a hydraulic mount which rocked back and forth simulating bumps on a street - think “Urban Cowboy” but without the Honky Tonk and beer. Behind the car, a large screen was hung, and then behind the screen a special projector was placed about 35 to 40 yards away. It projected footage that we filmed from a speeding vehicle, driven by a stuntman, through the real New York streets --- and please don’t try this at home, or while visiting Manhattan. When the footage was played back on the screen, it looked like the car was racing down the streets. On the opposite side or camera side, a smaller screen was mounted in the air above the vehicle. Here we projected different images of buildings filmed from below. These pictures reflected in the windows of the car, giving the shots that extra bit of realism. Then “on the day,” slang for when the cameras are running, “fake” rain was added, and Matthew, Jean, Maria, and Hank were taken for the ride of their lives.

To supplement the rear screen, we used another technique that has been around for years. As you may recall, I mentioned in my last report that Matthew arrives in one of the sequences in an old sea plane. Again, rather than putting him in a small plane with a film crew, we actually shot his close-ups in a mock up of the plane on our stage. Outside the window, we placed a painted sky, and then blew smoke past the window to give the sense of flying. This procedure is commonly referred to as “poor man’s process.” We also used this method for filming a few of the less intense sequences in which the actors were driving at night. By bouncing the car a little, and periodically flashing lights through the windows we were able to simulate a ride through the streets of New York all from Stage 15 in Culver City. It is a very convincing technique, which in some cases goes unrecognized even by an expert eye.

Lastly, green screen. It too is an aptly named technique. We hung a 120 foot bright green curtain in an arc along one end of Stage 15. We then filmed out actors running, diving, and reacting to number of different situations which were not easily, if at all possible, to film in real life. Once the film is processed, and scanned into a computer, our digital compositors can then remove all of the “green screen” green from the shot and replace it with any image we want -- an explosion, a miniature building that doesn’t really exist, or more importantly… Godzilla. In addition to filming our principal actors, we also filmed scenes of the military, on foot and in Humvees, as they too battle to save New York. Even though they are wearing camouflage outfits, the green in the screen is different enough to allow us to remove it from the shot without effecting any other colors.

OK, I am off to dailies to see how the filming turned out… see ya soon!

Production Report #4

It was back to nights when we headed out to the Valley to shoot two sequences at Universal Studios. Our filming took place at Falls Lake - a giant outdoor pool located in a field on the back lot. Normally this large "cement pond," as the Beverly Hillbillies would have called it, looks like a quiet little lake, but we pumped in thousands of gallons of water to create a mini ocean. We

created a storm by having a guy ride a Jet Ski in circles thus creating waves in the water and we added lots of smoke (fog) and tons of rain. To rig all of the special lighting and rain equipment in the air, we brought in six giant cranes worth over a million dollars each. They raised huge water bars high in the air, thus covering the entire lake with rain. Eight foot tall fans ran during the shot

to create wind and to blow the rain for dramatic effect.

At one end of the lake, we built a full size mock up of a boat landing and wooden pier located along the shore of the Hudson River - that's in New York for those of you who are geographically challenged. This was for the sequence you might have seen in the new trailer. Along the opposite side of the pool, we placed a gigantic painted backing of the night sky which blocked out the city lights of Burbank. For the other sequence, we faced in the opposite direction to film a full size mock-up of a boat. It actually "worked" for a few different boats out sailing together in the wide-open ocean -- with a little redressing and a name change you’ll never know the difference. They come into play in a rather surprising confrontation with the Godzilla - of course you'll have to wait to see what comes about. In addition, we even built some amazingly real miniature boats for a fun special effect that take place at the end of the sequence - you won't be disappointed. By the way, look for the names of the boats to honor a very famous comedy team. The dock we filmed is featured in the new teaser trailer - which you can download on our website.

Even though our actors had to go into the water for a "midnight swim," we were able to stay nice and dry (and loving that!) by using a special piece of equipment which allowed us to place the camera right in the middle of the action while keeping us safely out of the way of the rather large moving boat! It's called a Technocrane. A Panavision camera is mounted on the end of the crane on a "hot head." The camera operator sits off to the side and via cables/remote control is able to follow the action while watching a video monitor. One of our grips stands next to the Technocrane and can raise and lower the camera or extend the cranes neck to get the camera exactly where Roland, our director, wants it. For example, we can be on a tight close up of an actor's face and then suddenly pull back to a high angle shot looking down on him as he reacts to his predicament -- all in one smooth shot. The takes looked great on our video playback monitors, and even better in dailies the next day. The boat wasn't actually real. Just the top part that you would see above the water was built. Underneath were large pontoons which kept it afloat. A cable hidden under water, and attached to one of the cranes, would pull it through the water. When we looked back at the footage it looked as if we had filmed the entire sequence out in the middle of the ocean miles from land.

That's a wrap for now... but next issue, we'll take a closer look who's providing some of the fabulous effects for the film...

Production Report #5

After two more days of filming at Falls Lake, we were back to the Sony Lot. And yes, you guessed it... more Greenscreen. But since we've covered the wonderful world of "Green", I thought l would "talk" a little bit about three other very important groups working on the film. They are the Creature Shop, Centropolis Effects, and VisionArt. The Creature Shop, headed by Patrick Tatopoulos, the man responsible for the creatures in "Stargate" and the aliens in "Independence Day," has worked around the clock on designing and constructing the new Godzilla. They have actually built a few different scales of the creature to be used according to the shot requirements. I toured the top secret shop again recently, and cannot say enough great things about the work they are doing. The creature is looking amazing! But of course Patrick doesn't do all this alone. He has a crew of over hundred seventy artist and technicians helping with all aspects of production. These men and women are skilled in many different areas of expertise. There are sculptors, mold makers, foam and electrical technicians, mechanical designers, and painting and suit technicians all of whom make an equally significant contribution to the final product. The shop is essentially one large warehouse divided into separate work areas much like an industrial factory but much cooler. There is a giant oven for curing the latex molds, a special vented room for mixing the foam latex, another area painting the eyes and the skin, and there is even an area for working on the big guys inner workings.

As many of you are probably aware by now, Roland and Dean are adding a refreshing realism to this already successful series and character. Not only will the creature be leaner and faster, but he will also benefit greatly from the latest in CGI technology. As I mentioned above, two companies are handling the Computer Generated Images and compositing for "Godzilla." One of them is our very own company, Centropolis Effects, a group composed of a number veterans from "Independence Day." The other is VisionArt, an extremely talented group of artist, who also worked on ID4 and have created effect shots for such proiects as "Star Trek: First Contact," "Men in Black" and "Executive Decision."

Each company is using a different technique to "breath" life into the creature. Centropolis Effects is using key frame animation to create shots of Godzilla. This process requires the artist to essentially build the beginning position of Godzilla, the ending position, and a few of the "key"

movements in between. The computer will then fill in the rest, thus creating a designated action. There is usually some fine tuning, but this process saves hours and hours of valuable time. VisionArt on the other hand is using a process called Motion Capture or MoCap. Simply put, this technique involves placing an actor in a MoCap suit in front of special cameras that record his movements into a computer. This gives Visionfirt's animators a real time look at how the creatures movements will look. Later, the CG model of Godzilla is then combined with this information/movements that were recorded and then the creature moves exactly like the performer did. Both companies will also composite shots on their super computers for the film. Compositing is the "merging" of two or more elements together into one image. For example, a shot of a New York Street and Godzilla racing down it.

Well, I just watched visual effects dailies a few minutes ago and the CG Godzilla shots look awesome. Even though the artist are still fine tuning the images, we are seeing some amazing looking shots of Godzilla stomping through New York and interacting with our actors. We actually watch VFX shots every day. Roland sits with the artist in our projection room and runs through the shots over and over again discussing what he would like to see changed. The shots are outputted from the computer onto film so he can see what each one will look like projected. Once all the changes have been discussed the artist will go off and make their changes and then Roland will watch them all over again - sometimes even the next day. It can be a tedious process but the pay off is always worth the extra attention to detail! Godzilla is looking so life like it's astounding.

In issue #6, I‘ll tell you about our last week of filming and some of the fun shots we did. We'll also continue to look at the Post Production process and meet some of the other departments involved... See you soon.

Production Report #6

Our last week of 2nd Unit shooting took us back to the Sony Lot. At this point, we reduced our crew to about one third the size. This allowed us to work more quickly on what were generally simpler and less complex shots. One of the first sequences we worked on was filming an Apache Helicopter cockpit. This footage will be cut in with shots of real helicopters flying and even computer generated helicopters. Once again we used a little rear screen and some poor man's process to film close up shots of the pilots flying through New York City. A mockup of an Apache was mounted about four feet off the ground of stage 30 - which by the way is the same stage that the flying monkey sequence for "Wizard of Oz" was shot on. Next to the helicopter, we placed our giant projection screen. On the opposite side we placed a smaller screen, at an angle, above the copter to project additional images of buildings onto the windows. The cockpit was rocked back and forth by hand while "super" fans blew smoke, and rain was sprayed onto the windows. To simulate gunfire, an effects specialist stood just below the fake guns and fired a large flame gun which would intermittently illuminate the helicopter and the pilots as a real machine fire would. We used about six different actors who worked in teams to play the pilots of the different crafts. While one pair was in the copter playing out their scene the others would sit off camera with a microphone and "feed" them their lines. The shots proved to be amazingly convincing.

Next, close-ups of... mud. Yes, mud. For one of the sequences in the film, Matthew's character is doing some experiments on a certain harmless earth creature. And since we needed real "emotion" from these squirmy little actors it was best that we recreated a small portion of the ground shot on location - actually shot miles east of Los Angeles. A six foot by six foot ”sandbox" was erected on the floor of Stage 15. Dirt was dumped inside and then real plants were added through out. An FX crew member hand held a rain bar which would splatter the ground to simulate rain. A stand in was actually used to film the close ups of Matthew‘s hand working in the soil. When cut in with the footage of Matthew on location it will be impossible to tell what was shot indoors and what was actually shot I outdoors. In addition to this outside environment, we also created another land mass right next to our mini garden. A different sequence in the film takes us to a remote atoll were some lively relatives of Godzilla play on the rocks. For this shot, we created a large fifteen foot by fifteen foot box which stood approximately five feet off the floor. The box was filled with a few hundred pounds of sand and then real rocks were added to create a sea side "paradise." A special trainer was hired for the day to provide the creatures for the shot  and to make sure that they hit their marks and said their lines correctly - OK, they didn‘t have a lot to say, but they are definite contenders for a Supporting Oscar( nomination.

Other shots that we "owed" for the film were close ups of the sailors working on the boat that we had shot at Falls Lake - this is the sequence I discussed a few issues ago. Since we did not quite get all the shots we needed and because it was easier and again safer to film these shots on a sound stage, we actually dismantled our full size fishing boat. Just the top half of the boat

was brought in on a trailer to Stage 15. The camera was once again mounted on the end of a crane and was floated up and down to create the sensation of waves. Water was sprayed onto the actors and strong fans provided the wind. By carefully matching the lighting we created at the lake, and with a little "color timing," the shots will match seamlessly.

I will cover the editorial process more in depth after the holidays... I promise... and for next week I’m working on a special holiday edition of the Production Report…

Production Report #7

This week is a special edition of the production report! Since things are a little quiet during the Holiday break I thought it would be a good time to cover a few of the terms that are used on a set each day. Column One is a list of the terms. Column Two is a list the correct definitions along with a few "trick" definitions. See how "In the Know" you are with the Movie World by matching up the words with their respective meanings. For the answers scroll to the bottom of the page… Happy Holidays and Happy New Year!!!

Column One

Flying In

Wrap

Martini

Grace

Crew Call

Honey Wagon

Stand In

AD

PA

Craft Service

Clapper

Loader

Sticks

Hot Head

Column Two

a) A drink that Bond has shaken

b) A short prayer said before lunch each day

c) The last shot of each day

d) A popular tortilla like food usually filled with lettuce, tomatoes, rice, etc.

e) The time when each crew member is called on the phone and told what the shot will be

f) The board that is used to label each shot or "take" just as the camera rolls

g) Assistant Director - the person who assists the director in running the set

h) Production Assistant - a person who assists other members of the crew

i) A person who stands on the set and applauds after each shot

j) When any kind of aircraft is directed to fly directly at the camera

k) An effects person who loads the fake bullets in weapons on a set

I) An expression that means a much needed item is being brought to set

m) An Art Director - the one in charge of the look of the sets, etc.

n) A period of time when the film company is not penalized for working the crew over time

o) The end of each film day when the crew is allowed to finally go home

p) Pretty Average - what a crew member calls an uncomplicated shot

q) The restrooms that the crew uses when filming on location

r) The person who puts the film in the camera magazine

s) The person who literally stands or walks where an actor will, while the shot is being prepared

t) The exact time that crew members are expected to be on the set at the start of each day

u) The truck or tables where all the snacks and sodas are set up each day for the crew

v) A shot in which the actor only has to stand in one spot and say their lines

w) Pieces of wood found on the ground in forest

x) A camera tripod used for holding up the motion picture camera

y) A temperamental actor or crew member on a set

z) A device that the camera is mounted on and then run via remote control. Used when the camera is placed on the end of a crane.

SCROLL DOWN FOR ANSWERS

1)L  2)O  3)C  4)N  5)T  6)Q  7)S  8)G  9)H  10)U  11)F  12)R  13)X  14)Z

Production Report #8

Since we are heavily into post production on Godzilla, I thought this would be a great time to give you an up close and personal look at the people helping to put this summer's blockbuster together. Some of the most important crews on any film are the editors. They are the ones responsible for assembling all the footage shot into one finished and coherent story. They have to sift through the thousands upon thousands of feet of film iust to find the perfect shot or take.

This week I would like to introduce you to our Visual Effects Editor, Peter Elliot. A graduate of Cal State Northridge film school, ' Peter began his film career as a sound effects. This is someone who arranges and "cuts in" all the sound effects you hear in a film - gun shots, car horns, a baby crying, etc.. He worked on twenty films in two years, as a sound cutter, before moving onto picture editing. Peter started working as an assistant picture editor on "Stargate" with editor Michael Duthie. By working closely with Michael and Roland Emmerich, he learned a great deal about how a picture and its story come together in the editing process. He was even able to work one on one with Roland in cutting some of the scenes for the film. After "Stargate," he moved onto "Judge Dredd." again as a picture editor, but in addition he also started handling the effects editing for the film. After “Judge Dredd” was finished, Peter was approached by Peter Winther, then associate producer on “Independence Day,” to work as an effects editor. He did such a good job on ID4 that he was asked back to work on “Godzilla.”

So what is an effects editor? He or she is the individual responsible for keeping track of all of the effects elements in a film. These can involve anything from shots of explosions to all types of model and miniature shots. Each day Peter attends the visual effects dailies, where he will sit with Roland and our visual effects supervisor, Volker Engel, and evaluate the ”quality" of the shots filmed the day before. Just like a picture editor will look at the best takes for an actor's performance, Peter too looks at the quality of an explosion, the movement of a miniature car or plane, or simply the overall look of a model of a building. He, along with Volker, will choose the best takes for each element then begin the long tedious process of cataloging them.

Once the elements are collected, Peter will turn them into "picture files" that the CGI animators and compositing artist will use to create the desired effects shot. He selects only the portion of the element or shot needed - not a frame more or less. The shot is then changed into bytes via a special transfer machine that literally scans a frame of a shot one at a time - line by line by line. It can literally take hours to transfer even just a few seconds of one shot. Once the images are scanned he will sit again with Volker at his AVID, a computerized editing machine, and actually create a very crude version of the shot using each of the necessary elements. He then takes this "road map" of the shot and gives it, along with all the transfers of the shot's elements, to the animators and/or compositors. From this rough idea, the animators can begin assembling the shots elements together. Later, Volker and Roland will fine tune the shot and make any necessary adjustments. While the animators are attacking their assigned shot, Peter is already onto to the next one, arranging the elements for their assignment.

One thing that Peter does differently than most visual effects artists is work closely with the picture editors to design the basis of each effects shot. He tries to make sure that each shot’s action or movement will integrate seamlessly into the final picture. But none of this he does alone. His assistant Alessa “runs the cutting” and without her he says, “everything would fall apart.” She keeps everything updated on his AVID, in addition to keeping the original safely stored and catalogued so they are easily accessible. Most of the elements are stored by shot, but some are categorized by the element themselves. Some times the visual effects film crew will shoot generic explosions, steam elements, people running or reacting to something, etc.. Peter and his assistant can keep these at their fingertips and instantly insert them into a shot if need be to help add to the realism.

Eventually Peter hopes to work strictly as a picture editor. He did an exceptional job on cutting the pilot episode for “The Visitor” and looks to have a bright future ahead of him. Next issue, we will continue to look at the editorial staff and the many challenges that the rest of the crew faces.