Chapter 99

"Let's take a break for now," Murphy said as he stood up from the chair in front of the monitor, setting down his pen and notebook. He addressed the group of people, including Jody Griffiths and Paul Wilson, who were involved in post-production. "Fifteen-minute break."

Jody Griffiths and Paul Wilson, who were involved in post-production, also stood up from their respective workstations. Some paced around, while others looked out the window, finding different ways to relax.

Kerry, who had been sitting in the corner, immediately walked out with a large paper bag and didn't care about the curious gazes of others. She pulled out some fruits she had bought on her way from acting class and offered them. "Have some bananas."

Murphy accepted them, glanced around at the others, and saw Kerry standing opposite him, placing the paper bag on the table and blinking at him.

"Kerry..." Murphy reminded her with a glance.

"Huh?" Kerry seemed puzzled. "Is something wrong?"

She noticed Murphy's glance towards Jody Griffiths and quickly understood. Grabbing the paper bag, she walked over to them, saying, "Are you all tired? I have some fruits here."

Paul Wilson took a banana, thanked her with a smile, and wasn't surprised by the progress in the relationship between their boss and Kerry. It was evident to anyone in the crew who paid attention. Kerry was fond of their boss.

Just like Paul Wilson, no one found it strange.

Fifteen minutes flew by quickly, and Murphy clapped his hands firmly. "Let's get back to work!"

With some experience and better equipment support, coupled with their cooperation, Murphy and Jody Griffiths had developed a good understanding. This time, the editing work in post-production was noticeably faster than before. After spending three days watching all the footage and less than four days for the initial editing, they completed the first step.

After color grading and other post-processing, they entered the refinement stage. Murphy and Jody Griffiths became more cautious, replaying each edited segment, discussing it with each other, and ultimately following Murphy's guidance for any necessary modifications.

Editing is a creative process that requires editors to have a sense of montage and master the language of editing to create the best narrative effects. After the initial editing, all that was left for the editor was a pile of raw materials. A skilled editor could create visually pleasing effects based on this foundation.

Like the previous post-production, Murphy was overseeing the overall direction as a director. He couldn't be proficient in every aspect of the work, so most of the time, he stated his requirements, leaving Jody Griffiths to make them a reality.

In addition to this, Murphy also needed to work with the sound engineer, Hart Colby, in another production room to complete the sound effects work.

Although almost all scenes were recorded on location during filming, there were still some shots that didn't meet Murphy's requirements. If the audio material from synchronous recording couldn't be used entirely, supplementary recording was necessary.

These tasks weren't troublesome. Since James Franco's life trajectory had noticeably changed after meeting Murphy, according to information provided by Seth Rogen, James Franco planned to take a vacation on the open sea once filming was over. He hadn't taken on any new projects and could come in to record at any time.

Seth Rogen and the others were in similar situations, having finished their roles and not knowing where their next roles would be.

"Finally done!" In the recording studio, James Franco put down the script and sat down to rest. After listening to the recording effects combined with the footage on the monitor, Murphy nodded at sound engineer Hart Colby, indicating it was acceptable, and then walked over to James Franco.

"To be honest, I really admire you!" When Murphy sat down on a nearby chair, James Franco gave him a thumbs-up. "To handle a difficult girl like Kerry so easily."

Murphy shrugged. He had heard this kind of comment before and didn't bother explaining. Some things weren't deliberate, and besides, he had no experience in pursuing girls.

"Where is Seth?" he changed the subject. "Why hasn't he been around these days?"

Even after post-production started, Seth Rogen still came to the set to help whenever he was free. It seemed like his goal wasn't just to be an actor.

"He's off taking accent classes." James Franco said.

After saying that James Franco stood up. "If you don't mind l'll take my leave, I have something to take care of. Call me if you need anything."

After recording the actors' voiceovers, the dialogue needed to be edited to synchronize and replace synchronous recordings with additional dialogue. At the same time, Foley sound effects needed to be added. The scenes with additional dialogue needed more than just dialogue without accompanying sound effects. Hart Colby used various methods to recreate the sound effects of actions in the scene.

Then, sound effects editing was done, aligning sound effects with Foley.

Finally, environmental sound processing was done. Environmental sound was

an important means of recreating scenes and creating different spatial and environmental feelings.

In environmental sound processing, there was also an important aspect - air sound processing. Air sound was used to level the noise level between different shots, helping the audience ignore the cuts between shots.

With all these tasks completed, musical scoring was added. Due to budget constraints, Murphy didn't commission original music but continued to use the method from "Hard Candy".

This team was efficient, and despite encountering some difficulties, Murphy finished all post-production work a week ahead of schedule, proving the importance of a good team for a film.

As the film was completed, finding a suitable distributor became Murphy's top priority.