Hayden J. Weal in front of computer editing

European Editing Suite

Post Production Abroad


With all the shooting in the can (well, excluding potential pick-ups), it’s time to start what I find the most daunting task of all: editing.


As you can see above, I have a Marty McFly figurine from Back to the Future. This was given to me by my Secret Santa at work (Sam McSweeney – legend) and will travel around Europe guiding me through tough editing decisions.



With 15┬áhours of footage, 137 scenes, a dozen or so characters, multiple storylines and even timescapes, the first cut will be a very large slog. I’ve almost completed an assembly using every scene and every line that we shot, so we can see how much story we have and what can go. Thanks to editing as we were shooting, a large chunk of the story is already there on the timeline.



I’m cutting using FCPX on a 13″ MacBook Pro with 16gb RAM for ultra speedy video processing, and I’m working with a 2TB hard drive that holds all the footage’s transcoded proxy media. We have three separate backups of the media full res in Wellington, and from here I can send back EDLs, XMLs, and full Library files for Simeon to set up test screenings.


For now, check out this epic editing suite I’ve scored. Many late nights spent huddled over this desk drinking cheap dirty Prague coffee.




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