vissza a főoldalra

2001 November 2
The director's letter to the G:

Dear Gergő,

I 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.

Special 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

00:19:10 - flower 2
00:06:07 - flower 3
00:25:11 - flower 4

Flower 2-3-4 laboratory, speeding special effect.
Harvesting cut -10% enlargement, laboratory special effect.
Swimming A-B tape cutting.

Four squares lighting.

Total 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 finishing touches.
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.

For the film to be presented we have to stick to these dates. We have to start the scanning now!

For 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.

Wednesday, 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 it.)

Thursday, 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. Bad technique.

Friday, 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.

2001 November 17-19
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.

Tuesday, 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.

Wednesday, 2001 November 21
We manage to copy the material. The Beta belongs now to the sound editor.

Thursday, 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 the title.

Friday, 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.

November 2001 26-27
Preparations, dispositions for Wednesday. The weather forecast is bad.

Wednesday, 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 of shooting.

Friday, 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.