The director's letter to the G:
draw up the program for the year. Please help to carry out the
plan! First of all we have to decide where we'll do the scanning:
at Fox or at Front Film. They should be asked for testing, as
we agreed. Marinkás knows which cut I'm talking about. Ask him
about it, because the cut's content and length is modified.
It has now 10-12 seconds. With the help of KGB it should happen
next week (from 5 to 11) in order to be able to watch the test
on the week beginning with the 12, and to decide who will make
the scanning. If this is done, we may copy the rest of the cuts.
After that we have to give three weeks for the special effect
men to give us back the Winchester, then it could be copied
back on the film, then comes the laboratory, then the watching
- if the Beta copy is good. If it isn't, the material belongs
to the special effect men again. From the Beta we put the special
effect material in Avid, and only in this chase we may send
the film for final sound editing. Moral: we have to scan the
chosen cuts as soon as possible.
effect cuts (min:sec:square)
00:26:16 - earthquake, airplane + flower
01:49:15 - beginning, credits
00:11:21 - flower
00:18:15 - pub
00:30:00 - cat
00:12:24 - mole
01:07:17 - Roentgen
00:03:11 - ceiling
?:?:? - the end, credits
- flower 2
00:06:07 - flower 3
00:25:11 - flower 4
2-3-4 laboratory, speeding special effect.
Harvesting cut -10% enlargement, laboratory special effect.
Swimming A-B tape cutting.
scanning: cca. 02:50:19
Total copying: cca 3:00:12 + titles + laboratory special effect
Nov. 15 Giving the film to the sound editor for atmosphere.
The first scene back to Avid for editing.
End of Nov. end of noise synchronising at the college
Beginning of Dec.: First scene for the sound editor, they give
back the rest of the film. Filling in the special effect, last
Middle of Dec. Finalising the noises and the atmosphere of the
film. Giving to the sound editor on Beta Sp. For the negative
editor footnote list.
the film to be presented we have to stick to these dates. We
have to start the scanning now!
technical details ask Marinkás and KGB.
2001 November 3-10
The director and the dramaturg are participating with theirs
new script ("Taxiderma") at the 5th Sundance Central-European
Screenwriter's Lab at Prague. Meanwhile the editor states precisely
the editing. Three VHS at three man.
2001 November 14
In the afternoon meeting with Éva Schulze at the university.
After four hours of thinking the sequence of the scenes are
changed. The first step towards feature movie… (We don't decide
if it's a good idea. The understandability and the experiment
with film language contradict each other. But we really don't
know if this version is understandable. A test showing would
be necessary, but without sound it wouldn't be easy to understand
2001 November 15
Day of handing. This date was fixed by the sound editor contract
for handing the film sound. We would like to switch - according
to a separate agreement - the second part of the film with the
first one (that has the noises). Neither the first scene is
not noised, nor we can copy on Beta the second part of the film.
2001 November 16
At two in the afternoon appears the director of the other unit,
Kornél Mudruczó. He would like to edit, though his editing time
starts from five. He talks about the contract, the lack of sleep,
and deadline, and that we should give him back the hours he
gave us once. He says that our handling date was November 15,
so he thought that from that time he would be able to work all
day. Our director tells him that we haven't finished, and the
deadline concerns only the sound editor, "Mokép" and
himself, and by no means the editing capacity and the other
unit, which came much later than we do. Furthermore he tells
that the situation is unpleasant for us too, since we had to
start early in the morning, and we had to finish by five, and
this isn't an office, rather creation work, moreover they didn't
agreed so. They start to shout to each other. They are calling
theirs producers, but they stay out of it. In the end they agree
to switch on December 20, at two. Until then the producers try
to organise the crews on different machines. The last editing
of "Hukkle" will be in the last week of December.
When every special effect, every sound will be in the right
place, and we'll have to compact the images.
Nobody understands why was the yesterday mess. There are days
when we work till four without the other's film crew presence.
Samu get a better computer on which we can watch the images
with sound. Instead of dubbed sounds they count the cut's length
with metronome. But they can't put together the music with the
images due to the complicated rhythm that could be heard only
by the composers.
2001 November 20
Day of handling. But with this technique we are not able to
write down the exact time codes of the finished material. At
the director's ultimatum the producers rent a professional editing
equipment from "Filmplus". We have to copy the material
from one equipment to the other.
2001 November 21
We manage to copy the material. The Beta belongs now to the
2001 November 22
In the editing room of the university the director introduces
the special effects in the Beta material. With the editor they
write down the exact number of footnotes and send the material
to the laboratory for preparing and editing the negative of
2001 November 23
A smaller group leaves for Ozora for preparing the shooting
from the next week. Near the director race along the two Gs
on the road M7 towards Siófok. Zoli Galambos accepted this day
of shooting only on the director's special request, since his
dismissal from the producing studio didn't came to an end yet.
But he is in friendly terms with the new G, Gergő Balika. At
Ozora, at Pipó's coffee shop they are awaited with wild boar
stew, so they feel like home. They visit the actors that will
play next week in the movie, the director checks the scenes
of shooting and the actor's condition (hair-style, wrinkles,
mood), and the new G is getting acquainted with the shooting
scenes and conditions. At the coffee shop they meet Aunt Virág
and Öcsi and they talk over the shooting with them. First they
go to the beekeeper's house, where they get some vine from Uncle
Feri. The crew gets dunk form the drink. In the car they talk
about the new G's status on the credits. They don't agree.
Preparations, dispositions for Wednesday. The weather forecast
2001 November 28
Supplementary shooting. The weather is bad in Budapest, but
the Gs are assuring us that the sun will come out. At nine in
the morning everybody is at Pipó's coffee shop. We start at
Uncle Feri; we shoot three near-plans at the beekeeper's house.
We shoot with few lights, a relative new crew, another type
of camera: a moviecam. It takes time to arrange the same set,
to find the same table, the same glass, the same plant, etc.
And the lights. Then we do a macro fahrt, and the first problem
arises: Aunt Virág is not willing to play at the beekeeper's
house since she was threatened again by her husband. Moreover,
Uncle Feri is playing against us because he told once to the
jealous husband that "I have got your woman for a day".
Either the director can't convince her to act, so in the end
he chooses another woman of same size. We late a little, but
we are done. By the crew is in lunch break, the rails are build
for the funeral scene (again the usual 20 meter - we wish we'd
have budget for more…). At that time it should shine, but it
isn't. Later we find out that there was sunlight from Vienna
to Budapest, except Ozora. "The laboratory will put on
some lights." We move to the co-operative's dinner to shoot
some inserts. Only with the clothes there is something wrong,
but we find that out just at editing. Supplementary cut with
the shepherd's daughter. Shooting of black blend. By the end
of working time we run out of 22,500 meters raw material approved
at the beginning of shooting. This is it. The very last day
2001 November 30
In the evening we are scanning at Fox. Now the 35-mm film is
changed in digital, high resolution images, with six squares
by second speed. The cameraman is putting some lights compared
to the standard value of the negative. For our great surprise
the film laboratory didn't edited the credits, they have only
putting the cuts in order. Thus the director has the footnote
list things seem amateur. It's as if at an elegant restaurant
we'd take out the onion and bacon. We need more scanning, more
Winchester - we have to pay for the lack of organisation.