HAWKEYE POS T- PRODUC T I ON .
early conversation about metal, and the idea of what it sounds like, making sure you feel the experience through Clint’s point of view. When you arrive at the scene with Clint on the phone to his son, that seems emotional and present. It feels as if it’s coming out of a natural place,” says Gibson. What were the biggest challenges for our editing trio? Gibson says it was the dinner scene, where Clint and his children are eating Chinese food. “I remember, in the dailies we received, one of the younger characters had a lot of energy and it made it harder to know where to cut. Sometimes the simplest scenes can be the most difficult, when there’s a lot of general speaking, the actors spend a full day in one place – and tons of coverage to go through. It takes time and attention to push these through,” he notes. Roche’s dilemma came towards the end of the last episode. “From the ice
rink all the way to the end, I probably had 47 different versions. To me, it was all about pace – you want to leave at the right moment and come back at the right moment. That was the toughest aspect about it.” For Tan, it was a toss-up between episode 3 and the macaroni scene in episode 5. “In episode 3, there are so many elements that continue for a long period of time and lots of different beats, like when Clint jumps over the bookshelves or his hearing aid gets knocked out. The trick was to ensure a smooth flow throughout those edits, while keeping things interesting and everyone’s eyes fixed on the screen. The macaroni scene was tricky, too. You assume this would be something easy to edit, but keeping a ten-minute talking scene interesting and relevant to a wider audience is not a simple task.” Watch Hawkeye on Disney+
films and series,” he explains. “There were new elements, such as Clint’s hearing loss and trying to figure out how to represent that. We wanted to find the balance within those audio edits and designs to make sure the audience weren’t taken aback by the lack of sound – thinking their TV is not working – and communicate those character emotions.” Gibson and Tan had many conversations on how to present deafness to those watching, the majority of whom are used to media which relies heavily on soundscapes. They also had to grapple with playing out tricky high-end sounds in a way that didn’t irritate. “We had an
“The trick was to ensure a smooth flow throughout those edits, while keeping things interesting and everyone’s eyes fixed on the screen”
CONTENT GIANTS With high-budget productions like this Disney+ series, editors have to go through a massive amount of footage in order to produce the final cut. The real challenge is timing – finding the specific shots at the right moments in order to create the perfect tone, energy and emotional range of the show
37. APRIL 2022
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