Posting Crossing Streets

Pushing a film through post-production is a daunting task. Every aspect of the film is now on the table — the edit (cut), the sound design, score, coloring, titles, credits, et al — and it’s a process that demands time and attention on a daily basis. Enter the “post supervisor”. This person’s job is to oversee each aspect of post production, from the end of principle photography till it’s ready to premiere.

On Crossing Streets, the goal was originally to shove the film through a speedy post process. We had aspirations of seeing the film screen sooner than later. However, through scheduling conflicts, other work, and tackling a fall 2014 film production (Where Are You, Bobby Browning?), a 6-month goal turned into a year-long stretch. The reality is that a year in post is more the norm, and less the exception. In this business, everything takes longer. And we can live with that as long as the work is steady and professional — it is without fail — and our passion for the project remains the driving energy behind our progress.

Breaking it down, we chose an editor that was already invested in the production. Our location sound mixer, and post sound supervisor, Jonah Guelzo, was notably the right fit for the editor. Jonah has a knack for editing, and working closely with the director he was able to cut the film down to a locked edit. He then tackled post sound, mixing dialogue till it was crisp and clear, followed by sound effects and foley.

The colorist we chose came on board the fall film (Where Are You, Bobby Browning?), and stayed on as that film’s editor. He expressed an interest in coloring, so common sense led to giving him a shot on Crossing Streets. His fast learning attention to detail and trade skills showed off his inapt ability, and Andrew Rankin turned a a raw palate into a masterpiece.

Scoring was a tricky choice to navigate. We worked through several composers before landing the one we loved — truly loved. The others were good, each bringing something unique to the film, but ultimately we realized that Andy Georges was our man. His vision for bringing the director’s dream to life made scoring seem like something so incredible simple. Each part he delivered resonated with the director, and the final score would eventually bring the film together.

Visual effects supervisor, Adam Miller, with Hello Studio, is a colleague and friend who has always been our go-to guy. Without fail, he welcomes a challenge and rises to the occasion. VFX (visual special effects) were never a concern.

With a hand in the edit, eyes on the color, ears on the score, and input on every part of the post puzzle, the director, Marc A Hutchins, followed the film through nearly 18 months of development. Was it worth it?

I have never been so excited to see something come together, as I am about Crossing Streets. All the people — cast and crew, the community, the kids, the supporters far and wide — who came together, have done so to build something special. This film has been a journey worth traveling, and I am excited to have been a part.