Tenderness (or Czułość in Polish) is the first Polish 4K stereoscopic 3D movie directed by Wacław Mikłaszewski and produced by Alina Sztoch and Wacław Mikłaszewski (Isyrius 3D Film Production). The film tells a multi-faceted story about youth, loss and attitude toward life. Its consistent use of unhurried narrative in 3D with almost theatrical form, gives the audience an extra dimension to contemplate.
The choice of editing this project with Avid Media Composer was actually a no-brainer. These days, it’s the best editing platform out there to work with stereoscopic 3D content. The stereo 3D toolset easily deals with metadata and any stereoscopic errors that might occur. Tenderness was shot on RED Epic Cameras and Phantom Flex 4Ks (for slow-motion shots). Using the CinemaVision 3D rigs on set, we always bundled a pair of cameras to shoot stereoscopic.
The media was brought into Media Composer at DNxHD 36 resolution. As I was editing with separate eyes .s3d clips (non-muxed files as side-by-side or over-under), we could align mismatched timing between eyes (timecode sync errors). We sometimes relied on 3D Warp effects, but you have to be careful with any artificial zooms, as they change the perceived depth of the shot. This however could be compensated with S3D Spatial Alignment, one of my favorite effects while working in 3D. Editing started on Media Composer version 6, continued on version 7, and we finished the film on 8.4. There was no problem during these transitions, as Avid’s media management is very solid and reliable.
As there were no J- and L-cuts or overlapping dialogue, I used ISO audio tracks on the timeline instead of audio mixdown. I could go into each actor’s lav mic or boom mic and choose what I wanted to hear. In some parts of the movie we added temporary music, but I’m not a big fan of overusing temp music. The internal rhythms of shots tell you how to cut between them, so music will almost always fit, if picture is cut the right way.
The film’s timeline was set up with some important, additional tracks: subtitle tracks (Polish/English) with a SubCap effect to export subs in .txt and .stl format, VFX tracks for effect shots that had to be post-converted to 3D, and a render track on top of all these tracks. In Media Composer, you don’t have to render all the tracks—only the topmost track, so when I had a fairly complex sequence, I would just render this layer. I also created a VFX-notes track with the SubCap effect. I would write notes to the VFX team and export them as .txt files. Of course, I could have used markers, but spanned markers only export the start of that marker, not the end. I could have printed the markers bin as .pdf and bypass it, but I preferred my SubCap workaround.
The editing process lasted for two years. Long pauses gave us the opportunity to look at the movie from a distance and from different angles. The film style is based on wide shots, lasting for minutes, so the most important thing was to get the structure right.
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