editor | assistant editor
The Loneliest Time screened at the St Albans Film Festival over the weekend. After the screening Cheryl joined Producer and Actor Dan Poole in leading a masterclass with the audience. Many great questions about filmmaking, editing and the industry were asked and answered inside the beautiful Odyssey cinema.
Cheryl has recently finished work on Dresden Pictures film Biopunk. This concept film explores a dystopian future, and is just a taste of the larger feature film the makers have planned. Director Liam Garvo and producer James Heath were both wonderful to work with. It’s so great to see filmmakers with such ambitious and creative ideas.
The full concept film is below
BIOPUNK from Dresden Pictures on Vimeo.
Alien: Covenant is Cheryl’s third feature working with Ridley Scott, and her second working as an additional editor to the very talented Pietro Scalia. Alien: Covenant is out in cinemas worldwide on May 19. The film picks up 10 years after Prometheus and should satisfy longstanding fans of the franchise with plenty of thrills.
In the lead up to the films release Fox put out The Crossing – a prologue that shows what happens between the end of Prometheus and the beginning of Covenant.
The trailer for Alien: Covenant is below.
Cheryl recently completed the edit on “Leni. Leni.” This short film, directed by Adrian Vitoria, written by Alistair Audsley and produced by Rosie Fellner recently screened at the Short Film corner at the Cannes Film Festival 2016. The film explores the troubled world of Leni Riefenstahl – one of the most controversial and inventive filmmakers of her time.
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While still finishing up on The Martian in her so-called “spare time” Cheryl began the task of editing a short film about conflict, The Loneliest Time. This timely and topical short was directed by Cort Kristensen while Dan Poole wrote, produced and starred.
The Loneliest Time is currently at sound mix stage, being mixed (in Dolby Atmos) by the fantastic Paul Massey with sound editing work by James Boyle.
For more information on the project see:
The Loneliest Time Facebook page (feel free to “like” it if you wish.)
Author and editor Steve Hullfish publishes a series of insightful interviews with feature film editors for the website the Pro Video Coalition. The series is called The Art Of The Cut.
Following his interview with editor Pietro Scalia about editing The Martian, Steve interviewed me about our post process and workflow.
It’s a very in-depth, technical article about our process and I’ve been told it’s been very useful to lots of assistant editors and post production folk. Steve got in touch with me in January to let me know it was the most popular Art Of The Cut article of 2015!
The Art Of The Cut: The Martian With Cheryl Potter
There have been a lot of excellent articles about the making of The Martian coming out, and the fantastic Jonny Elwyn has saved me from having to collate them all myself. He’s published a great round-up that links to all the articles about The Martian – Editing, Music, VFX, the whole lot!
So make yourself a hot drink and settle in to learn all about The Making Of The Martian
Another feature film in the can for imminent release. Cheryl has just completed work as an additional editor to Oscar-winning film editor Pietro Scalia (IMDB) on Ridley Scott’s latest science fiction epic The Martian which is based on Andy Weir’s excellent novel of the same name.
The Martian stars Matt Damon, Jessica Chastain, Kristen Wiig, Jeff Daniels, Michael Peña, Sean Bean, Kate Mara, Sebastian Stan, Aksel Hennie, Chiwetel Ejiofor, Mackenzie Davis and Donald Glover.
Cheryl has just finished working as Associate Editor to Billy Rich (IMDB) on Ridley Scott’s latest epic Exodus: Gods and Kings starring Christian Bale, Joel Edgerton, Sigourney Weaver and Ben Kingsley.
What do you get when you have a major event feature film that runs at 2 and half hours, in 3D, with a rolling conform, multilayered transitions, complex optical sequences and thousands of VFX shots? A very involved Digital Intermediate process. Adriene Hurst (for Digital Media World) describes the process of finishing The Great Gatsby in this article: Cutting Edge Transforms ‘Gatsby’ into Living Colour.
Image courtesy of Cutting Edge/Warner Bros pictures
As the Editorial DI Supervisor my role on the film was to work closely with Senior Digital Intermediate Colourist Adrian Hauser and his team to ensure the DI was always as up to date as possible – no simple feat with a cut that was changing by the minute and VFX updates rolling in continually. I was also the point person for Lead Flame Artist Hugh Seville and his team of artists who were handling the sequences dubbed by Baz as “poetic glue”, ensuring they had the latest scans, VFX and reference to create these complex opticals.
The above article is very focused on the excellent job Cutting Edge did with the DI. To add an editorial slant to that information I’ve jotted down five tips on managing a complex DI from an editorial perspective. (more…)
