There are occasional shots inside a driving car. There’s also a cramped semi-basement/street-view apartment that serves as the main secondary location. The scenes all look so straightforward.Īs a spoiler-free overview, the story tracks through numerous highly-detailed set pieces, including the expansive and expensive-looking house that functions as the main location. “Why so many VFX shots?” you might wonder. “The whole film is only about 960 cuts, which seems like more because of all the camera movement,” Jinmo says, “but we had about 400 VFX shots.”
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Looking at Parasite, even with a trained eye, you’d never imagine that more than a third of the movie contains some sort of VFX. It’s a process Fincher used extensively during The Social Network to replicate Armie Hammer as the Winklevoss twins, shooting a stand-in for the second twin and replacing his head with Hammer’s in post.īut to paraphrase Finche r, it’s never about which tools you use-it’s about how you use them in service of the story. Most notable among the many American directors and editors Jinmo looks to for inspiration, David Fincher is largely responsible for the technique Jinmo used to give Bong the freedom to not just choose the best takes for his carefully choreographed shots, but to choose different takes within a shot-even when the camera is moving. But despite FCP 7’s age, it was more than capable of handling ProRes HD proxies of the Alexa 65 masters, with After Effects alongside for timing and pre-visualization of the numerous invisible VFX shots.
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But, as some of you might already know, Jinmo cut Parasite on Final Cut Pro 7 (that 7 isn’t a typo). Photo by Irina Logra The tools serve the storyĪs most of you reading this know, Avid is the NLE of choice for most contemporary Oscar-recognized Hollywood films. Lucky us, Bong’s longtime editor, the now Oscar-nominated Jinmo Yang, generously shared his inspirations for the film, and gave us a detailed look at how he and Director Bong (as Jinmo refers to him) worked together to craft this modern masterpiece. Hailed as the South Korean film that could make history, the praise lavished upon it is well earned-especially when you look behind the scenes at the elaborate and elegant production process. Thematically bleak but blackly comedic, timely, and rife with social commentary, it won the Palme d’Or at Cannes, took the Golden Globe for Best Foreign Film, and has been nominated for 6 Academy awards, including Best Picture, Best Foreign Language, Best Director, and Best Editing. His most recent film, Parasite, has been called genre-defying. South Korean filmmaker Bong Joon Ho has left an indelible impression on cinema with such films as Snowpiercer, The Host, and Mother.