Laser Pacific transferred all dailies – not just “circle takes” – to HDCAM, DVCAM and Avid hard drives for viewing and screening. Waist Deep used Laser Pacific for all of these functions.
Technicolor provided lab services, but one aspect that made life easier was to use the same facility for telecine, HD online editing (for preview screenings) and DI finishing. We would work out of our 3-perf project and open 4-perf, 16mm and video elements from there and bring them in.” Within the Avid project, you can open any bin from another project, so that you are able to use that ‘borrowed’ material in your sequences. So my solution was to create a separate project for each format type. According to Kenny, he approached it this way, “The Meridien Avids won’t let you mix film formats and gauges within the same projects, like Avid’s Adrenaline systems. As the first assistant, it was up to Marsten to establish the best way to deal with this mixture of formats inside the Avids.
In total, about 500,000 feet of film was available as raw footage using the Avid 14:1 standard definition resolution for 24fps film projects.
Two Avids were used by Teri and her assistant Kenny Marsten. It turned out that only a 16mm camera was small enough to safely go under the vehicle, which is why we ended up with 16mm as one of the formats.”Īs a longtime Avid editor, Teri cut on a Meridien hardware based Avid Media Composer tied to one terabyte of shared storage on an Avid Unity system. Teri continued, “Vondie wanted an interesting way to create transitions, so he come up with the idea of shooting car-by scenes from underneath as a transitional device. High definition video was used for a lot of the nighttime helicopter scenes. Plus, this was my first film for a digital intermediate finish, so I wanted to make sure that everything went smoothly when it came time to do the DI.” The bulk of the film was shot in the 3-perf Super 35mm format, which gave the filmmakers the most “bang-for-the-buck” in producing a widescreen finished product using the DI method. On the technical side, we mixed a lot of formats: 3-perf and 4-perf 35mm film, 16mm and HD video. It’s an urban story that takes place in LA during the summer and that’s when it was shot so we also wanted to convey some of that LA summertime heat. It had to have the action film sensibility, but it is also a father-son story. Teri explained to me, “From the filmmaking point-of-view, this is both an action film and human story. Some of her other feature editing credits include Diary of a Mad Black Woman, Biker Boyz, and Eve’s Bayou. This earned her an American Cinema Editors (A.C.E.) Eddie Award for Best-Edited Motion Picture for Commercial Television. This was Shropshire’s second collaboration with director Vondie Curtis Hall following their work together on Redemption: The Stan Tookie Williams Story, which played at the Sundance Film Festival and then aired on the FX cable network. (editor) and Kenny Marsten (first assistant editor) formed the nucleus of this team. The production and post of Waist Deep took a number of interesting approaches, so I spoke with the editorial team to see what sort of challenges they faced. O2 and Coco (Good) seize the opportunity to pit rival elements of the south Los Angeles underworld against each other. Gang leader Meat (The Game) expects $100,000 ransom for Junior. Single father O2 (Gibson) – an ex-con trying to go straight – will do anything to save his son Junior (Hall) after a failed carjacking turns into kidnapping. Hunter Hall, hip-hop star The Game, Larenz Tate ( Crash, Ray, Menace II Society) and Meagan Good ( You Just Got Served) in a film that takes audiences through contemporary Los Angeles where a 21 st Century Bonnie and Clyde hit the streets. Waist Deep stars Tyrese Gibson ( Four Brothers, 2 Fast 2 Furious), newcomer H. That’s the way I feel about my son, and the way a lot of black men feel about their children.” Here’s a black man who’s trying to do good by his son, loves his son, and would do anything for him. You don’t get to see love between a father and son often enough in urban movies. That’s a universal story, and it’s the starting point for our movie. Director and co-screenwriter Vondie Curtis Hall (Redemption: The Stan Tookie Williams Story, Gridlock’d) says, “To save your child, you would find the adrenaline that allows you to run much faster than you have ever run. Waist Deep, an urban action thriller released by Rogue Pictures, takes on the challenge of how far would a father go to save his child.
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