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In fact, the core concept of Murphy's post-editing editing is very simple: it cannot cause confusion to the audience, distract them from the plot, or make them feel upset and depressed, but the overall plot framework is simple and easy to understand, which can make most of the viewers happy.

This is also the essence of the movie being widely circulated.

It took more than ten days to complete the initial cut, and Murphy asked the special effects department to start adding special effects. Since zombies basically rely on makeup, the special effects mainly come from two aspects: one is Jessica Chastain's pronounced legs, and the other is to dim the tones of all shots.

In all the scenes of Jessica Chastan's broken legs, the right leg is wrapped around the green screen, and the green screen is removed and replaced with the corresponding wooden legs. It is not difficult to m4a1 or Gatlin. This is just a very simple post-production technology in Hollywood, which can be easily achieved in the early 1990s.

The latter relies on the Da Vinci color mixer to adjust all the shots taken during the day into the background of the night.

Again, this is not a difficult job.

While adding special effects to the special effects department, Murphy and Ras Beint continued to work on editing. Not counting the videotapes and TV stations behind them, they also had to prepare two editing versions for theater screenings, which were divided into North American and European versions.

The former is mainly released in North America, with cyan lenses relatively convergent, while the latter is mainly aimed at European cinemas, with cyan scales relatively large.

In addition, Murphy has also prepared a larger-scale version, which not only contains shots of the male and female protagonists Jessica Chastain and Robert Downey Jr., but also has a large number of large-scale scenes of other actresses.

This is a screening version specially prepared for the Cannes screening.

Among the most famous international film festivals in the world, Cannes' scale has always been at the forefront. Like **** lenses, etc., it is too common. If you don't use some large-scale blue lenses, you will be embarrassed to say that you are participating in the Cannes Film Festival.

Murphy remembers very clearly that the film "Love 3D" successfully refreshed the public's three views on the Cannes Film Festival with its amazing large-scale erotic content and 3D screening format. On the day of the Cannes premiere, the screening was postponed by too many people. The relevant reports he had seen were hard to come by at that time, and the queues to enter the venue were even more crowded than the New York Metro during peak hours.

Since the 21st century, the scale of films participating in the Cannes Film Festival has become larger and larger every year.

Homosexual, bisexual, ****, s.m... This is nothing. Some "little ****" specially provided by the Cannes Film Industry directly broadcast the scene of a woman having a child throughout the whole process. It is simply a rhythm that no one can beat the sky!

Maybe this is the art of film in the eyes of some people.

“Our goal of participating in the Cannes Film Festival is clear,”

While sitting in the staff recreation room on the first floor, Erica Steinberg said without any concealment, "Use the film festival to increase the popularity and attention of the film and sell it at a better price!"

Murphy and Russ Beint looked at each other, and it was not surprising that even Miramax, who is famous for producing art films and independent films, ultimately pursued commercial profits.

"I heard that the screening rights in several overseas markets have been pre-sold?" Murphy asked.

“Our goal is more than the overseas theater market,” Erica Steinberg smiled and explained. “Harvey and I think that “Saw” cannot exceed “Saw”’s box office results.”

He looked at Murphy, and Murphy nodded without mind. The director knew very well that box office miracles like "Saw" were hard to come by, and he could not achieve such a terrifying return on investment every time. In most cases, the final box office of a Hollywood film can reach three to four times the production cost, which can be said to be very successful.

Miramax couldn't expect the film to be a box office of fifty times the production cost, unless the Weinstein brothers and the entire company were all funny.

"Revenue from other channels is also crucial to "Horror Planet". "Ericka Steinberg said slowly, "Entering in the film festival, screening or exhibition can make more potential buyers recognize the film, and receive good news from audiences or media, which can greatly help the film get more profits."

"What a pity..." Russ Beint shook his head and joked, "I, as an editor, don't have the chance to walk the Cannes red carpet."

Murphy and Erica Steinberg laughed.

"You can pay out of your own pocket," Erica Steinberg joked rarely, "It's not impossible to buy an invitation out of your own pocket and go to Cannes to grab the red carpet."

Murphy knows it, but can he buy an invitation?

"Can you buy an invitation from Cannes?" he asked.

"Of course." Erica Steinberg didn't seem to be joking. "If you are a star or other film worker supported by the Cannes Film Festival sponsor, it's easy to get an invitation. Even if it is not, you have the opportunity to attend the Cannes Film Festival and show up on the heavyweight red carpet."

In Murphy's previous perception, the Cannes Film Festival was definitely a high-end existence. He thought it was the limit of Cannes' commercialization, but he didn't expect to buy the opportunity to walk the red carpet.

"Eri," he was interested, "can you tell me in detail?"

"These are actually all solved by money," Erica Steinberg did not refuse. "First talk about the viewing seats on both sides of the red carpet that are easily captured by the media and TV cameras. Generally, first-class seats cost 20,000 euros, second-rate seats 15,000 euros, and a little less than 5,000 euros."

"The price required to walk the red carpet is even higher," he continued. "It's basically over 100,000 euros, but if you are the spokesperson for the official sponsor of Cannes, you can usually handle it for 10,000 euros."

“There are other public events in Cannes,” said the veteran Erica Steinberg, who is a veteran, has a wide range of knowledge. “For example, some brand-sponsored events, you only need to buy a certain amount of the brand’s business and you can get the chance to walk the red carpet.”

Murphy knew that this certain amount was definitely not expensive.

"Other Chopin nights, closing ceremonies, or premiere of popular films, you can get relevant red carpet invitations in Cannes as long as you are willing to spend money," Erica Steinberg shrugged. "You will understand that you participate in a film festival. These are almost public hawking. And not only Cannes, but also the Venice Film Festival and the Berlin Film Festival are similar."

He also said, "It will cost 15 million to 20 million euros to hold the Cannes Film Festival. If the organizers don't find a way to raise money, the festival will be over."

For ordinary people, it is obviously not worth it to spend such a large price on the red carpet of the Cannes Film Festival, but it is a rare opportunity for celebrities.

According to Erica Steinberg, the money-making methods launched by the film festival are mainly aimed at celebrities who want to take advantage of the red carpet.

In his words, there are not only film sales agents in many international film festivals, but also special existences such as "red carpet pushers".

The red carpet promoters not only seek opportunities for celebrities to walk on the red carpet of the film festival, but also package celebrities and spend high prices to participate in the red carpet show.

Even some companies or institutions in Cannes have launched similar services one after another, and even ordinary people can spend money to buy the opportunity to walk the red carpet.

This kind of "high-end" service also shocked Murphy, just because he didn't know whether celebrities could enjoy the discount; otherwise, spending so much money just to find a photographer to take a photo and report it on the corresponding media is a waste. It would be better to spend money directly to buy an interview, and it would be less tired of traveling.

He, a director whose body is hidden behind the scenes, cannot fully understand the thoughts of actors and stars.

After talking to Erica Steinberg so much, the most useful information for Murphy is still the same thing as Cannes!

The heavier the taste of a film, the more it can attract attention at the Cannes Film Festival, arousing debate among the media, audiences and international film viewers, and the debate can mostly bring more commercial benefits to a power than damage.

In the subsequent editing, Murphy also appropriately relaxed the scale of the Cannes screening version. All the large-scale shots shot in the film were edited into this version in a suitable way as long as they did not conflict with the overall plot.

After the production of that little special effects was completed, he summoned the actors to dub them again. During the shooting, the live recording was used on a large scale. There were not many scenes that required dubbing, mainly focusing on the scenes of three actors: James Franko, Robert Downey Jr. and Jessica Chastain.

In addition, this time, Murphy used the old method. He chose the right song from the existing music and paid a certain copyright fee, and was added to the soundtrack in the film by professional sound effects editors. The soundtrack was mainly metal rock and electronic music, especially the final battle, and the soundtrack must be able to set off the atmosphere.

After completing these, Murphy edited two trailers and handed them over to marketers in Miramax. The promotion and marketing of this film will be led by professionals in Miramax. He, as a director, only needs to cooperate.

The post-production took two months. After the three different versions were completed, it was not the final piece. The completed samples had to be handed over to Miramax, and the Weinstein brothers made the final verdict.

In other words, Murphy's edited version is not the final film that appeared in the theater.

In the last two weeks of April, Harvey Weinstein and Murphy met frequently and exchanged views on some scenes of the film. Murphy is not asking for the final editing right now, and is not paranoid. Some of the film's shots have been appropriately adjusted according to Harvey Weinstein's request.
Chapter completed!