Late Fragment - An Interactive Film

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Q:

Did you have to edit this movie differently? I don’t get it. How did you figure out what the sequence of the film would be?

The post-production of Late Fragment was done in 2 overlapping stages: the Traditional Film Editing stage and the Interactive Editing stage.

In stage one, the stories of Faye, Theo and Kevin were edited separately as three distinct linear films.

The second stage consisted primarily of combining all 139 edited scenes from each story into a master interactive film experience, with the stories of Faye, Theo and Kevin unfolding simultaneously.

This part of the process involved little conventional editing of shot material. Instead, a frame from every scene was printed onto an index sized card, and these cards were posted and arranged on a wall, much like how screenwriters arrange scenes when writing a script.

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“The Wall” was used to display the entire non-linear structure of the film and to determine the many possible paths which the viewer could navigate. After much trial and error, the cards were arranged to create an interactive journey that had many dramatic possibilities.

Once completed,”The Wall” became the interactive script for the programmers. It charted the flow of the overall story, noted all clicking relationships between scenes, and was designed to satisfy the user with multiple viewing experiences.

Roslyn Kalloo

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Q:

How do I get my hands on Late Fragment? – John

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Q:

The cinematography rocks! Who were the DOPs? Did you have three different ones for each writer/director? How did they work together? Did it make a difference for the DOP knowing it was an interactive film?

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Q:

I saw at the screening that you’re not using a DVD player to VJ the film. What kind of software are you using for your screenings and how does it work?

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Q:

This project required a lot of collaboration. How did the three writer/directors like working together?

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Q:

Did the D.O.P. use any new technologies or methodologies?

Late Fragment was one of the first feature films in Canada to shoot with the Panasonic-AG-HVX200.

It was a little hairy at first because we were shooting straight to disc and there were no workflow workshops, websites, or experts at that time. We had to design the system from scratch with Caitlin O’donovan’s help, one of our line producers, and with Tim Martin, our Post-Production guy from Frameblender.

Here’s Marie doing the disc swap thing…

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